fiifiliimirt:- 

pSSJJI 


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I 


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THE  MONUMENTAL  GATE. 


tEibe  Hearts  Exposition 

of  1900 ... 


H  Divio  descriptive  IDlew  anb 


Elaborate  Scenic 

presentation 

of  tbe  Site,  plan  anb 

Exhibits 


A  Beautifully  Artistic  and 
Historic  Album 

Esplanades  and  Boulevards  ;  Bridges, 
Towers  and  Monuments  ;  Natural  and 
Artificial  landscapes;  Vistas  of  Gar¬ 
dens  and  Quay-line  d  Waters  ;  Scien¬ 
tific,  Mechanical,  Architectural  and 
Art  Wonders  ;  Infinite  Productions  of 
Industry,  Manufacture  and  Commerce 
The  Revelations  of  Invention  and 
Discovery  ;  The  Varied  Contributions 
and  Characteristics  of  Rival  Nations  ; 
Triumphs  of  Genius  and  Handicraft. 

_ 1 

IBs  James  p.  Toys,  a.  /S>. 


Author  of 

“  Heroes  and  Statesmen  of  America,” 
“Political  History  of  the  United  States,” 
etc  ,  etc. 


'Cbe  Centura’s  Xast  anb  (Scan best 
BU*Worlb  Exposition 


Copyright  1900 

by 

JAMES  P.  BOYD 


INTRODUCTORY. 


HE  International  Exposition  has  come  to  be  one  of  the 
most  potential  of  civilizing  agents.  Its  evolution  has 
been  rapid,  and  confined  to  the  closing  decades  of  the 
nineteenth  century,  among  whose  glories  it  may  be  reck¬ 
oned  as  one  of  the  chief.  The  genius  of  man  has  not 
been  able  to  invent  a  more  general,  complete  and  wholesome  appeal  to 
the  refining  and  elevating  instincts  of.  individuals,  communities  and  na¬ 
tions  than  the  International  Exposition.  It  is  an  historic  book,  whose 
scenic  pages  mirror  the  past  with  a  fidelity  unapproached  by  the  most 
truthful  pen.  It  is  a  scientific  volume,  whose  material  presentations 
astound  with  their  bewildering  variety  of  forms  and  uses.  It  is  an  art 
treatise,  whose  realistic  chapters  impress  far  more  deeply  than  written 
theories  of  color  and  tone,  brush  and  chisel.  It  is  a  pulpit,  rostrum  and 
school,  whose  silent  objective  speech  is  more  eloquent  than  that  syllabled 
by  lip  and  tongue. 

The  primitive  fair  was  a  local  convenience.  The  county  or  state 
fair  was  an  enterprise  of  profit,  though  stimulating  to  pride  and  ambi¬ 
tion.  The  national  exhibition  was  unmercenary,  educative  and  provo¬ 
cative  of  healthy  rivalry  and  fuller  acquaintance  and  understanding.  It 
remained  for  the  International  Exposition  to  eliminate,  as  near  as  might 
be,  the  element  of  selfishness,  to  set  up  a  school  for  all-world  scholars 
and  teachers,  to  provide  an  intellectual  and  visual  fete  in  which  all  the 
nations  were  invited  to  participate. 

What  institution  grander  and  more  all-embracing  than  this  I  What 
higher  evidence  of  liberality  and  enlightenment !  What  so  conducive 


6 


INTRODUCTORY. 


to  universal  peace  and  progress !  That  all  the  nations  should  be  invited 
by  any  one  nation  to  come  to  its  table  and  partake  of  its  viands  in  a  spirit 
of  generous  rivalry,  would  not  have  been  thought  of  a  hundred  years 
ago.  That  all  the  nations  should  accept  such  invitation  and  gladly  has¬ 
ten  to  contribute  their  presence  and  the  exhibits  of  their  life  and  institu¬ 
tions,  either  as  proofs  of  superiority  or  subjects  of  criticism,  would  not 
have  been  possible  fifty  years  ago ;  nay,  not  until  the  International  Expo¬ 
sition  had  taken  on  its  most  modern  form  of  unselfishness  and  institu¬ 
tional  liberality;  had,  in  fact,  become  what  it  is  to-day,  a  co-operative 
historic  and  educational  society  whose  membership  embraces  the 
world. 

It  is  unquestioned  history  that  no  International  Exposition  has 
failed  of  the  results  anticipated.  Out  of  each  successive  one  has  flown 
a  generous  stream  of  influence  that  became  as  transforming  light  in 
dark  places  or  as  needed  stimulus  to  the  genius,  culture  and  energy  of 
all  participants.  Cosmopolitan  art  displays  have  invariably  advanced 
art,  even  in  its  best  estate ;  science  has  revolutionized  science ;  institution 
has  re-acted  upon  institution ;  interchange  of  thought  and  idea  has  mag¬ 
ically  procreated  new  thoughts  and  ideas;  the  mingling  of  nations  has 
made  new  nations,  not  in  boundary,  but  in  the  spirit  that  copies  and  ab¬ 
sorbs  what  is  best,  and  tolerates  what  it  cannot  espouse. 

France,  or  rather  her  capital,  Paris,  has  been  called  the  foster 
mother  of  the  International  Exposition,  or,  as  she  loves  to  call  it,  the  Ex¬ 
position  Universale.  The  title  is  not  a  mere  euphemism  nor  empty 
flattery.  It  is  a  truism,  warranted  by  all  the  conditions  that  enter  into 
the  origin  and  assure  the  success  of  such  an  institution.  Letting  Paris 
stand  for  France  and  the  French  people,  it  is  a  centre  at  which  the  con¬ 
tinents  can  gather  with  a  minimum  of  travel  and  expense.  The  speech 
is  the  polite  tongue  of  the  world.  Into  it  all  other  languages  easily  flow, 
and  through  it  are  most  readily  interpreted,  let  the  theme  be  that  of  di- 


INTRODUCTORY. 


7 


plomacy,  business,  art,  science,  history,  or  whatever  contributes  to  the 
association  of  ideas  and  to  pleasurable  intercourse. 

The  city  itself  is  an  unexampled  charm  and  standing  invitation.  It 
is  the  one  city  of  the  world  that  rounds  out  and  stamps  the  title  and 
career  of  the  “traveled  person.”  Not  to  have  seen  Paris  is  not  to  have 
been  abroad  in  the  world.  Indeed,  extravagant  facetiousness  is  credited 
with  the  assertion  that  some  people,  when  dead,  want  to  go  to  Paris,  as  a 
sort  of  Elysian  abode.  It  is  truly  the  city  of  artistic  beauty  and  com¬ 
plete  appointment.  Its  palaces,  public  buildings,  hotels  and  prosperous 
homes,  are  so  numerous  and  of  such  exquisite  artistic  finish,  as  to  excite 
the  admiration  of  every  beholder.  Its  libraries,  halls  of  art  and  science, 
galleries,  schools,  teem  with  the  richest  treasures  . of  genius  and  proud¬ 
est  evidences  of  progress.  Its  parks,  esplanades,  boulevards,  avenues 
and  streets  are  panoramas  of  gorgeous  flower,  exuberant  foliage  and 
healthful  shade.  Its  police  appointments  and  municipal  regulations  are 
precise  and  perfect.  Its  people  are  vivacious,  versatile  and  gay.  None 
unite  more  of  the  essentials  of  free  and  joyous  hospitality.  The  hilarity 
of  the  holiday  is  ever  in  the  air,  welcome  at  every  corner,  and  be-at-home 
at  every  door  and  in  every  face  and  hand-shake.  The  spirit  of  cosmopol¬ 
itanism  knows  no  limit. 

All  these,  and  countless  others,  are  conditions  which  contribute  to 
the  desire  and  the  success  of  the  International  Exposition,  as  Paris  has 
exemplified  the  institution,  and  raised  a  contrast  with  other  cities,  states 
and  nations.  To  these  conditions  must  be  added  Parisian  experience. 
This  is  riper  than  that  of  any  other  people.  To  go  back  no  further,  the 
famous  Paris  Exposition  Universale  of  1878  was  the  inspiration  ana 
school  of  that  of  1889,  which  was  as  to  the  former  as  the  giant  to  the 
pigmy,  or  the  mountain  to  the  hillock,  not  only  as  to  space  but  to  all  the 
essentials  of  utilitarian  arrangement,  exhaustive  exhibits  and  brilliant 
show.  And  so  that  of  1889  was  the  loins  out  of  which  sprang  that  of 


8 


INTRODUCTORY. 


1900,  for  scarcely  had  the  gates  of  the  former  closed  till  the  latter  began 
to  come  into  being;  indeed,  it  is  true  that  part  of  the  magnificence  of  that 
of  1889,  as,  for  instance,  the  wonderful  Eiffel  Tower  and  the  gorgeous 
Trocadero  Palace,  was  especially  and  intentionally  preserved  as  auxiliary 
to  the  transcendent  splendors  of  1900. 

In  1893,  the  world  was  furnished  by  the  United  States  with  an  ex¬ 
ample  of  what  could  be  done  in  the  way  of  International  Expositions. 
Outside  of  the  crowded  city  of  Chicago  arose,  as  if  by  magic,  the  great 
White  City  upon  the  beautiful  lake  lagoon,  with  the  artistic  splendor  of 
its  Court  of  Honor,  its  noble  vistas  and  grand  perspective,  and  the  har¬ 
monious  grouping  of  structures  in  their  infinitely  varied  details — the 
whole  a  collosal  work  of  art,  to  behold  which  was  worth  a  visit  from  the 
ends  of  the  earth.  It  was  witnessed  and  studied  by  millions.  It  was  de¬ 
scribed  in  splendid  books  of  literature  and  art,  and  thus  brought  home  to 
millions  more  who  could  not  go  to  it.  Memory  of  it  is  that  of  a  gran¬ 
deur  and  beauty  of  general  effect  never  seen  before,  and  nobly  symbol¬ 
ical  of  the  power  and  greatness  of  America.  It  was  the  supreme  effort 
of  the  most  virile  people  on  the  globe. 

Nothing  could  be  more  difficult  than  to  undertake  to  compare  it 
with  the  Paris  International  Exposition  of  1900,  for  all  things  connected 
with  both  are  different.  The  Columbian  Exposition  was  all  stupendous 
mightiness,  it  had  the  free  play  of  indefinite  space,  it  bore  no  vital  rela¬ 
tion  to  Chicago  as  a  city,  nor  as  an  exemplar  of  modern  civilization. 
But  the  Paris  Exposition  of  1900  is  a  part  of  the  city  itself.  It  is  in  the 
very  midst  thereof,  utilizing  its  parks,  esplanades,  palaces  and  river  scen¬ 
ery,  becoming  a  part  of  its  social  life,  exemplifying  its  citizenship,  its  in¬ 
stitution  and  all  the  features  characteristic  of  the  metropolis.  It  is 
unique  and  exceptional  in  the  respect  that  with  limited  opportunity  for 
symmetry  of  arrangement  and  extended  harmonious  lines,  for  prolonged 
perspective  and  sweeping  vistas,  it  yet  makes  the  very  best  of  the  situa- 


INTRODUCTORY. 


0 


tion  as  to  external  appearance,  while  within,  by  its  infinite  variety  of  de¬ 
tails  and  its  multitudinous  array  of  the  productions  of  earth  and  its  inhab¬ 
itants,  it  presents  a  picture  of  the  world  at  the  close  of  the  nineteenth 
century  with  a  minuteness  and  vividness  never  approached  before. 

The  resolve  from  the  first  was  to  make  it  surpass  anything  hitherto 
accomplished  in  the  way  of  universal  instruction  and  entertainment. 
To  this  end  the  entire  government,  state  and  municipal,  together  with 
a  management,  as  skilled  as  it  was  enthusiastic,  strove  through  seven 
years  of  intelligent  preparation.  The  crowning  result  is  a  justification 
of  all  previous  plans  and  efforts.  The  ensemble  is  a  revelation.  Art, 
in  architecture,  sculpture  and  landscape,  is  in  its  liveliest  mode  of  color, 
form  and  adaptation.  Parks  and  walks  and  angles  are  costumed  in  fra¬ 
grant  flower,  spicy  shrub  and  lush  foliage.  Esplanades  are  lined  with 
gorgeous  palaces  devoted  to  exhibits.  The  river  Seine,  the  boulevards, 
the  avenues,  open  enchanting  vistas.  The  nations  of  earth  are  present 
in  beautiful  pavilions  erected  after  their  own  ideals.  An  infinite  variety 
of  structures,  all,  as  it  were,  artistic  dreams,  contain,  group  and  classify 
the  world’s  contributions  to  the  magnificent  enterprise.  And  how  won¬ 
derful  and  exhaustive  these  contributions  are !  What  a  perfect  micro¬ 
cosm  they  complete !  How  they  suggest  and  entertain,  and  with  what 
surpassing  eloquence  they  testify  to  the  substantial  progress  of  interna¬ 
tional  peace  and  good  will  among  men.  How  they  glorify  and  dignify 
modern  labor  at  a  time,  too,  when  socialism  hangs  like  a  threat  over 
whole  communities.  And  how  they  bespeak  for  the  future  an  era  of 
even  more  delicate  and  marvellous  mechanisms,  of  a  skill  superior  to 
mere  commercialism,  and  of  the  mastery  of  the  skilled  hand  and  practical 
genius  over  the  conservatism  and  dullness,  or,  as  too  often  happens,  the 
tyranny  of  capital. 

Millions  will  visit  this  little  world,  making,  perhaps,  the  journey  of 
a  life-time,  in  order  to  be  instructed  and  delighted.  They  will  come 


id  INTRODUCTORY. 

away  refreshed  in  mind,  with  new  ideas  of  civilization  and  life  and 
achievement,  with  memories  so  richly  stored  as  to  prove  inexhaustible 
fountains  of  pleasure.  They  will  have  enjoyed  one  of  the  grandest  priv¬ 
ileges  which  means  and  leisure  can  offer.  But  the  many  are  not  thus 
fortunate.  Yet  they  need  not  be  unfortunate.  It  is  the  object  of  this 
volume  to  make  them  all  visitors  to  Paris,  “The  Fairie  City,”  and  to  the 
International  Exposition  of  1900,  and  participants  in  the  latest,  grand¬ 
est  and  most  impressive  of  all-wo-rld  fetes,  by  bringing  to  them  in  their 
homes  a  faithful  portraiture  of  what  they  would  have  seen  and  enjoyed 
had  they  been  privileged  to  witness  in  person  the  wonderful  and  beau¬ 
tiful  things  in  whose  midst  they  would  have  found  themselves. 

To  this  end,  there  has  been  imparted  to  the  volume  rare  fulness  and 
energy  of  description,  not  only  of  Paris  itself,  which  is  so  worthy  alone  of 
a  visit,  and  is  so  essentially  a  part  of  the  Exposition,  but  of  the  site  and 
plan  of  the  Exposition,  its  grounds  and  buildings,  its  scenic  revelations, 
its  multitudinous  displays,  and  all  the  picturesque  accessories  that  con¬ 
tribute  to  its  magnificence.  This  feature  of  the  work  is  so  much  in  detail 
and  so  cheerfully  wrought  as  to  convey  to  the  reader  the  substantial 
impressions  and  pleasures  of  an  actual  visit. 

Another  feature  of  the  volume,  appealing  directly  to  eye  and  taste, 
is  its  profusion  and  beauty  of  art.  It  embraces  the  scenic  gems  of  the 
Exposition  from  photographs  taken  on  the  spot.  These  are  infinite  in 
their  variety,  exquisite  in  effect,  and  illustrative  of  the  entire  material  and 
artistic  range  of  the  Exposition — its  varied  architecture,  its  sculptures, 
its  paintings,  its  bridges  and  monuments,  its  palaces  and  pleasure  spots, 
its  science  and  handicraft,  its  international  costumery,  face  and  habit,  all 
its  historic  and  strikingly  impressive  objects.  In  this  respect,  the  vol¬ 
ume  becomes  a  resplendent  gallery  of  art,  and  particularly  treasurable 
to  every  taste  and  in  every  home — an  exhaustless  source  of  intellectual 
entertainment  and  individual  refinement. 


il>YR©p3ig  ©i  G©RfeeRljg. 


ORIGIN  AND  GROWTH  OF  EXPOSITIONS. 

The  Primitive  Fair — Its  Features  and  Uses — Tts  Transformations — Evolution  of 
Institutes — Agricultural  Fairs — Societies  and  Institutes — Sanitary  Fairs — 
Evolution  of  International  Expositions — First  World’s  Fair — Expositions  at 
Dublin,  Paris,  New  York — Second  and  Third  Expositions  at  London  and 
Paris — Centennial  Exposition — Vienna  Exposition — ‘Expositions  at  Atlanta, 
Louisville,  New  Orleans,  Chicago,  Nashville,  Omaha  . 


THE  FAIRIE  CITY. 

Foundation  and  Early  History — Growth  and  Improvement — Famous  Old  Struc¬ 
tures — Transformation  by  Napoleon  III — Improvements  under  the  Republic 
— The  Seine  and  its  Quays — Garden  of  Acclamatation — Naitonal  Archives — 
National  Library — School  of  Fine  Arts — July  Column  (1830) — The  Boule¬ 
vards — Bridges — Theatres — Museums  —  Catacombs — Churches — Place  of 

Concord — Fountains — Arches — Institutes — Place  of  Invalids — Camp  of  Mars 
— Elysian  Camps — Public  Institutions — The  Louvre — Tuileries — Schools — 
Garden  of  Plants — Suburban  Paris . 


EXPOSITION  SITE  AND  GENERAL  PLAN. 

Conception  of  Exposition  of  1900 — Preliminary  Stages — Acceptance  of  Plan — 
Advantage  of  Paris  in  Exposition  Work — Opening  Day  and  Exercises — 
Speeches,  Music  and  Parades — Extent  of  Space — Number  of  Exhibitors  by 
Nationalities — Place  of  Concord — The  Seine — Grounds  of  Champs  Elysees 
— Monumental  Entrance  Gate — Site  of  Horticulture — Bridge  Alexander  III 
— Avenue  Nicholas  II — Avenue  Champs  Elysees — Palaces  of  Fine  Arts — 
Esplanade  of  Invalids — Quays  of  the  Seine — Pavilions  of  Nations — Old 
Paris — The  Trocadero — Eiffel  Tower  and  Grounds — Camp  of  Mars — The 
Various  Palaces — Exposition  Annexes . 


EDUCATION. 

Palace  of  Education  and  Instruction — Group  I  of  Exposition — Classes  of  Exhib¬ 
its,  1,  Training  of  Children,  Primary  Education,  Teaching  Adults — 2,  Second¬ 
ary  Education — 3,  Higher  Education,  Science  Schools — 4,  Special  Teaching 
of  Fine  Art  and  Music — 5,  Special  Agricultural  Education — 6,  Industrial  and 
Commercial  Teaching . 


FINE  ARTS. 

Palaces  of  Fine  Arts — Group  II  of  Exposition — Classes  of  Exhibits.  7,  Paintings 
— 8,  Engraving  and  Lithography — 9,  Sculpture,  Medal  and  Precious  Stone 
Engraving — 10,  Architecture  . .  „ . 


12 


SYNOPSIS  OP  CONTENTS. 


LITERATURE,  SCIENCE  AND  ART. 

Description  of  Palace — Group  III  of  Exposition — Classes  of  Exhibits,  n,  Typo¬ 
graphy,  Various  Printing  Processes — 12,  Photography — 13,  Books,  Musical 
Publications,  Book-binding,  Newspapers — 14,  Maps,  Apparatus  for  Geogra¬ 
phy,  Cosmography,  Topography — 15,  Mathematical  and  Scientific  Instru¬ 
ments,  Coins  and  Medals — 16,  Medicine  and  Surgery — 17,  Musical  Instru¬ 
ments — 18,  Theatrical  Appliances .  205 


MACHINERY. 

Palace  of  Mechanical  Engineering — Group  IV  of  Exposition — Classes  of  Exhib¬ 
its,  19,  Steam  Engines — 20,  Various  Kinds  of  Engines — 21,  General  Machin¬ 
ery — 22,  Machine  Tools .  223 


ELECTRICITY. 

Palace  of  Electricity — Group  V  of  Exposition — Classes  of  Exhibits,  23,  Me¬ 
chanical  Production  of  Electricity — 24,  Electro-Chemistry — 25,  Electric 
Lighting — 26,  Telegraphy  and  Telephony — 27,  Applications  of  Electricity  . . .  233 


ENGINEERING  AND  TRANSPORTATION. 

Group  VI  of  Exposition — Classes  of  Exhibits,  28,  Materials  and  Processes  Relat¬ 
ing  to  Civil  Engineering — 29,  Models  and  Drawings  of  Public  Works — 30, 
Carriages  and  Wheelwrights’  Work — 31,  Saddlery  and  Harness — 32,  Rail¬ 
ways  and  Trolleys — 33,  Materials  and  Plant  of  Mercantile  Marine — 34,  Aer¬ 
onautics  .  261 


AGRICULTURE. 

Palace  of  Agriculture — Group  VII  of  Exposition — Classes  of  Exhibits,  35,  Im¬ 
plements  and  Processes  for  Rural  Cultivation — 36,  Appliances  and  Processes 
in  Vine  Culture — 37,  Appliances  and  Processes  in  Agricultural  Industries — • 

38,  Theory  of  Agriculture — 39,  Vegetable  Food  Products — 40,  Animal  Food 
Products — 41,  Non-edible  Agricultural  Products — 42,  Useful  and  Destruc¬ 
tive  Insects,  Parisitic  Plants .  277 


HORTICULTURE  AND  ARBORICULTURE. 

Gardens  and  Palaces — Group  VIII  of  Exposition — Classes  of  Exhibits,  43,  Ap¬ 
pliances  and  Processes  used  in  Horticulture  and  Arboriculture — 44,  Kitchen 
Garden  Plants — 45,  Fruit  and  Fruit  Trees — 46,  Trees,  Shrubs.  Ornamental 


Plants  and  Flowers — 47,  Greenhouse  and  Hothouse  Plants — 48,  Nursery 

Seeds  and  Stock .  297 


FORESTRY,  HUNTING,  FISHING. 

Group  IX  of  Exposition — Classes  of  Exhibits,  49,  Forestry  Appliances  and  Pro¬ 
cesses — 50,  Forest  Industries  and  Products— -51,  Hunting  and  Sporting 
Equipments — 52,  Products  of  Hunting  and  Shooting — 53, Fishing  Appliances 
and  Products — 54,  Gathering  of  Wild  Crops .  309 


SYNOPSIS  OP  contents 


S3 


FOODS  AND  DRINKS. 

Group  X  of  Exposition — Classes  of  Exhibits,  55,  Appliances  and  Processes  in 
Manufacture  of  Food  Products — s6,  Farinaceous  Products — 57,  Bread  and 
Fastry — 58,  Preserved  Meats,  Fish,  Vegetables,  Fruit — 59,  Sugar,  Confec¬ 
tionary,  Condiments — 60,  Wines  and  Brandies — 61,  Syrups,  Liquors,  Spirits 
— 62,  Beverages .  325 


MINING  AND  METALLURGY. 

Palace  of  Mining — Group  XI  of  Exposition — Classes  of  Exhibits,  63,  Mine  and 

Quarry  Working-  64,  Metallurgy — 65,  Metal  Working .  343 


DECORATION  AND  FURNITURE. 

Site  and  Description  of  Palace — Group  XII  of  Exposition — Classes  of  Exhibits, 

66,  Fixed  Decorations  for  Buildings — 67, Stained  Glass — 68,  Paper  Hangings 
■ — 69,  Household  and  Art  Furniture — 70,  Carpets,  Taoestry,  Upholstery — 71, 
Temporary  Decorations — 72,  Pottery  and  Porcelain — 73,  Glass,  Crystal — 74, 
Heating  and  Ventilating  Appliances — 75,  Lighting  Apparatus  .  363 


THREADS,  YARNS,  TEXTILE  FABRICS,  CLOTHING. 

Group  XIII  of  Exposition — Classes  of  Exhibits,  76,  Spinning  and  Ropemaking 
Appliances — 77,  Making  of  Textile  Fabrics — 78,  Bleaching,  Dyeing,  Printing 
and  Finishing  Appliances — 79,  Sewing  and  Apparel-Making  Appliances — 80, 
Cotton  Thread  and  Fabrics — 81,  Threads  and  Fabrics  of  Flax.  Hemp,  etc. — 

82,  Woollen  Yarns  and  Fabrics — 83,  Silks  and  Silk  Fabrics — 84,  Lace,  Em¬ 
broidery,  Trimmings — 85,  Tailoring  and  Dressmaking — 86,  Various  Cloth¬ 
ing  Trades  .  383 


CHEMICAL  INDUSTRIES. 

Palace  of  Chemistry — Group  XIV  of  Exposition — Classes  of  Exhibits,  87,  Ap¬ 
plied  Chemistry  and  Pharmacy — 88,  Manufacture  of  Paper — 89,  Leather  and 
Skins — 90,  Perfumery — 91,  Tobacco  and  Matches .  397 


VARIOUS  INDUSTRIES. 

Palace  of  Diversified  Industries — Group  XV  of  Exposition — Glasses  of  Exhibits, 

92,  Stationery — 93,  Cutlery — 94,  Goldsmiths’  and  Silversmiths’  Work — 95, 
Jewelry  and  Precious  Stones — 96,  Timepieces — 97,  Metal  Art  Work — 98,  Fan¬ 
cy  Articles — 99,  India-rubber  Goods — 100,  Toys .  405 


SOCIAL  ECONOMY,  HYGIENE,  RELIEF. 

Group  XVI  of  Exposition — Classes  of  Exhibits,  101,  Apprenticeship, Child-Work¬ 
ers — 102,  Labor  and  Wages — 103,  Co-operative  Associations — 104,  Agricul¬ 
tural  Unions — 105.  Factory  Workers — 106,  Workman’s  Dwellings — 107,  Co¬ 
operative  Stores — 108,  Workingmen’s  Institutions — 109,  Provident  Institu¬ 
tions — no.  Welfare  Movements — in,  Hygiene — 112,  Charitable  Relief .  419 


M  Synopsis  of  contents. 

COLONIZATION. 

Group  XVII  of  Exposition — Classes  of  Exhibits,  113,  Colonization  Methods — 1 14 

Colonial  Buildings  and  Appliances — 115,  Colonial  Products .  435 


ARMY  AND  NAVY. 

Group  XVIII  of  Exposition — Classes  of  Exhibits,  116,  Ordnance  and  Artillery — 

117,  Military  Engineering — 118,  Naval  Construction — 119,  Map  Drawing, Hy¬ 
drography — 120,  Administration — 121,  Sanitary  Appliances .  469 


PAVILIONS  OF  FOREIGN  NATIONS. 

Descriptive  Views — Character  of  Exhibits . . . .  485 


SUPPLEMENTARY  PALACES  AND  SIDE  SHOWS. 

Location  and  Descriptions . . .  515 


CONGRESSES  OF  THE  EXPOSITION 
Different  Congresses  and  their  Sessions . .  579 


IJst  of  Illustrations. 


The  Monumental  Gate . Frontispiece 

Frieze  Representing  Labor  on  the  Monumental  Gate .  21 

Old  Paris  and  the  Trocadero .  28 

Old  Paris — St.  Michael’s  Gate .  37 

Map  of  France  in  Precious  Jewels,  presented  to  France  by  the 

Czar  of  Russia .  37 

Palace  of  Fontainebleu — Chamber  of  Anne  of  Austria .  44 

Avenue  Bois  de  Boulogne .  5° 

Garden  of  the  Tuilleries .  59 

General  View — Paris  Exposition  1900 .  65 

Opening  day  at  the  Exposition .  72 

The  Bridge  of  Alexander  III .  81 

July  Column  (1830)  in  Bastille  Square .  88 

Arch  of  Triumph . 94 

View  on  the  Seine  looking  towards  the  Bridge  of  Alexander  III .  .  103 

View  of  the  Park  of  the  Champ  de  Mars  taken  from  the  Eiffel 

Tower .  109 

The  Eiffel  Tower  and  the  Park  of  the  Trocadero . 116 

Street  of  Nicholas  II.  from  Bridge  of  Alexander  III .  125 

Under  the  Eiffel  Tower — The  Trocadero  in  the  distance .  13 1 

Palace  of  Retrospective  Arts — Armor  of  Francis  1 .  137 

Dahomey  Village .  148 

The  Eiffel  Tower  at  Night .  153 

The  Grand  Palace  of  Art .  160 

The  Little  Palace  of  Art .  169 

Palace  of  Fine  Arts— under  the  Main  Dome .  176 

“Wounded  Football  Player,”  near  Grand  Entrance . 176 

Statuary  Hall — Grand  Palace  of  Fine  Arts .  182 

Interior  Grand  Palace  of  Fine  Arts .  191 

Hall  of  Grand  Palace  of  Fine  Arts . . .  197 

A  Bedouin  Sheik .  204 

Men  and  Women  of  Tunis .  204 


*5 


LIST  OF  IIXUSTRATlONa 


1 6 

Palace  of  Fine  Arts — Statuary  Hall .  2t3 

Group  of  Miners — Building  of  Mines  and  Metallurgy .  215 

Palace  of  Fine  Arts — Statuary  Hall .  220 

Group  of  Iron  Workers — Building  of  Mines  and  Metallurgy. .  . .  220 

United  States  Section  of  Mines  and  Metallurgy .  226 

Hungarian  Animal  Group  and  Dioram^in  Palace  of  Forestry. .  .  226 

French  Dynamo  and  Motor  Section  of  Palace  of  Electricity. .  . .  235 

Head  of  St.  Fortunate,  in  Art  Collection  of  Little  Palace .  241 

Saint  Foix — Statue  in  Beaten  Gold,  in  Art  Collection  of  Little 

Palace .  241 

Electric  Building — French  Section .  248 

Russian  Pavilion,  made  of  Metal  Tubes,  in  Palace  of  Mines  and 

Metallurgy  . .  248 

Palace  of  Light .  257 

Bridge  of  Invalids  and  Street  of  Nations .  264 

French  Section  of  Agricultural  Building — Ship  of  Chocolate. .  . .  270 

Agricultural  Building — French  Section .  270 

Horticultural  Hall — French  Section .  279 

Horticultural  Hall — Foreign  Section . . .  279 

Palace  of  Horticulture .  285 

The  Greenhouses .  285 

Palaces  on  the  Square  of  the  Invalids .  292 

The  Dahomeyan  Cabin .  301 

Hindoo  Merchants  and  East  Indian  Waitresses .  301 

Kaffir  Trophies — Transvaal  National  Pavilion .  308 

Canadian  Wheat — British  Colonial  Building .  308 

Zurich  Tavern  in  Swiss  Village .  314 

Cambodian  Orclhestra .  314 

Cuban  Exposition  in  Trocadero  Building .  323 

Street  and  Cascade  in  the  Swiss  Village .  323 

Looking  Across  Bridge  of  Alexander  III .  329 

An  Annam  Tea  Store  and  Vendors .  336 

Arab  Parade  on  Street  Algiers — In  Trocadero  Garden .  345 

Animal,  Wood  and  Mineral  Exhibit- — in  Palace  of  Russian  Asia. .  352 

View  Under  Cupola — Grecian  Pavilion .  352 

The  Great  Staircase  Austrian  Section .  358 

The  Street  of  Nations .  367 

German  Section  Place  des  Invalides .  37^ 


LIST  OF  ILLUSTRATIONS.  .  17 


Pavilion  of  Servia . 380 

Pavilion  of  Mexico .  380 

Palace  of  City  of  Paris .  389 

Pavilion  of  Greece .  396 

Pavilion  of  Denmark .  396 

Pavilion  of  Sweden .  402 

Pavilion  of  Monaco .  402 

Interior  of  Pavilion  of  Finland . .  41 1 

Hall  of  Fetes — Grand  Stairway .  41 1 

Building  of  the  Great  Maritime  Companies .  417 

Palace  of  Algeria .  417 

Palace  of  Turkey .  424 

Pavilion  of  Germany  and  Spain . . .  424 

Palace  of  Indo-China .  433 

Pavilion  of  Bosnia  and  Herzagovina .  433 

Pavilion  of  the  Transvaal .  440 

Palace  of  Belgium . • .  440 

Pavilion  of  Cambodia .  461 

Palace  of  Congresses .  461 

Palace  of  Russia . 468 

Gardens  of  Trocadero  and  Trans-Siberian  Palace .  477 

The  United  States  Building .  484 

Interior  of  Pavilion  of  Norway .  501 

The  Water  Palace . 520 

Building  Containing  the  “Tour  of  the  World” .  537 

Scene  on  Moving  Sidewalk .  544 

Palace  of  Diversified  Industries .  553 

Gallery  on  Second  Floor  of  Monaco  Building. . .  564 

Guard  of  Ceylon  Exhibition .  573 


5Phe  Paris  Bxp®sifei©R  ®f  1900. 


Origin  and  Growth  of  Expositions. 

T  the  very  dawn  of  authentic  history  we  read  of  fairs.  They 
were  periodic  gatherings — usually  annual — whose  dates 
were  fixed  by  some  inherent  need,  or  the  general  conven¬ 
ience,  of  the  communities  in  which  thev  were  held.  They 
±  were  common  to  no  one  people  or  nation,  but  had  a  gen¬ 

eral  existence,  for  they  served  a  purpose,  in  primitive  times, 
of  catering  to  man’s  physical  necessities,  and  in  this  respect  all  peoples 
had  demands  to  be  met. 

The  general  conditions  under  which  they  found  an  origin  were,  first, 
a  central  spot  in  some  community,  section,  province,  state  or  even  em¬ 
pire,  which  possessed  the  proportions  of  a  village  or  town,  and  enjoyed 
intercourse  by  water  or  caravan  route  with  the  commercial  world. 
Sometimes  even  an  improved  highway  settled  the  site,  and  not  infre¬ 
quently  historic  or  religious  associations  intensified  the  desire  for  visita¬ 
tion  and  temporary  sojourn.  In  other  words,  we  must  suppose  that  the 
site  offered  some  of  the  inducements  of  a  mart,  whither  were  gathered 
the  essentials  of  life  and  comfort,  such  as  the  rarer  food-stuffs,  clothing, 
household  wares  and  utensils  of  convenience.  Second,  the  surround¬ 
ings  of  the  site,  whether  of  small  or  large  area,  whether  near  or  remote, 
must  have  contained  a  population  thinly  scattered,  without  facilities  of 


19 


20 


THE  PARIS  EXPOSITION. 


interchange  among  themselves,  engaged  in  agriculture,  hunting,  fish¬ 
ing,  mining,  or  the  production  of  primitive  articles  of  handicraft.  Thus 
situated  and  engaged,  what  so  natural  as  that  they  all  should  seek,  by 
virtue  of  necessity,  if  nothing  else,  an  outlet  for  the  products  of  their  toil, 
and  opportunity  to  replace  them  with  those  they  could  not  produce,  but 
which  were,  nevertheless,  essential  to  their  comfort  and,  perhaps,  very 
existence.  The  typical  and  celebrated  annual  fair  of  Novgorod,  in  Rus¬ 
sia,  grew  out  of  the  precise  conditions  above  described,  and  answered  the 
same  general  purposes  for  a  district  embracing  tens  of  thousands  of 
square  miles.  So  of  hundreds  of  others  that  flourished  quite  as  vigor¬ 
ously,  but  have  passed  into  history  as  victims  of  changed  conditions. 

The  primitive  fair  always  added  to  utility  and  convenience  the  social 
inducement,  for  people  living  wide  apart  and  holding  little  intercourse 
with  one  another  found  an  annual  mingling  place  agreeable.  The  de¬ 
sire  to  see  and  be  seen,  to  meet  friends  and  make  new  acquaintances,  to 
exchange  views,  however  crude,  is  as  old  as  man  himself,  and  has  played 
its  part  as  a  social  and  civilizing  agent  from  remotest  times.  We  can 
even  imagine  that  brother  instinct,  curiosity,  operating  as  an  inducement 
to  “go  to  the  fair,”  for  though  men  in  general  and  women  in  particular 
might  not  have  been  so  infatuated  then  as  now  with  changes  of  fashion, 
gorgeously  feathered  hats,  Paris  cut  gowns,  exquisitely  patterned  trous¬ 
ers  and  variegated  neckties  not  having  as  yet  come  to  excite  admiration 
and  appeal  to  pocket-book  contents,  still  the  fair  mart  must  have  pro¬ 
duced  a  little  something  new  each  year,  the  seeing  and  knowing  of  which 
was  a  sufficient  gratification  of  a  mild  curiosity. 

But  if  the  primitive  fair  had  few  of  the  features  of  a  show,  if  people 
went  to  them  chiefly  to  dispose  of  what  they  had  .to  sell  and  to  buy  what 
they  knew  they  would  find,  without  the  display  and  crying  of  wares  and 
at  prices  unaffected  by  competition,  a  time  came  when  a  change  crept  in 
by  reason  of  changed  conditions.  As  people  brought  more  to  the  fair 


FRIEZE  REPRESENTING  “LABOR”  ON  THE  MONUMENTAL  GATE. 


ORIGIN  AND  GROWTH  OF  EXPOSITIONS. 


23 


to  sell,  and  therby  acquired  larger  means  for  buying,  it  became  profita¬ 
ble  to  introduce  a  greater  variety  of  wares  into  the  marts,  to  make  more 
ostentatious  displays  of  them,  and  to  cry  their  quality  and  value  to  buy¬ 
ers.  This  innovation  was  simply  a  natural  and  pardonable  commercial¬ 
ism,  involving  the  “beating  up”  principle  for  customers,  and  the  intro¬ 
duction  of  the  laws  of  competition.  But  it  proved  to  be  far  more  than 
this,  in  the  end. 

That  commercialism  which  led  to  a  broadening  of  plans  for  fairs,  to 
a  rivalry  of  effort  and  of  price  on  the  part  of  sellers,  and  to  the  presenta¬ 
tion  of  newer,  greater  and  more  attractive  varieties  of  wares,  created  a 
demand  for  something  aside  from  mere  wares  of  sale.  The  old-fash¬ 
ioned  buyer  at  the  primitive  fair  became  a  sight-seer  as  well.  He  would 
see  what  was  new  and  striking  and,  perhaps,  even  what  was  fashionable, 
and  this,  very  likely,  before  he  bought  at  all.  If  he  had  not  bought,  it 
became  necessary  to  make  his  sojourn  agreeable  and  to  keep  him  in  a 
buying  mood.  If  he  had  bought,  and  then  turned  to  sight-seeing,  he 
became  tired,  and  desirious  of  rest,  or,  since  the  fair  was  a  sort  of  holi¬ 
day  occasion,  nothing  appealed  to  him  so  strongly  as  some  kind  of 
amusement.  Here  then  came  into  the  fair  the  element  of  entertainment, 
not  in  one,  but  in  a  variety  of  fantastical  shapes.  The  bear-baiter  came 
on  the  scene,  the  traveling  tragedy,  comedy  and  farce,  Pantaloon  and 
Punch  and  Judy,  the  dancer  and  fiddler,  the  wrestler,  boxer  and  athlete 
of  every  kind,  in  short,  whatever  was  calculated  to  beguile,  fatigue  and 
conduce  to  good  nature  and  liberality. 

The  spirit  of  commercialism  which  demanded  and  excused  these  in¬ 
novations,  and  profited  by  them,  was  weak  and  faulty  in  the  respect  that 
it  could  not  control  them,  especially  among  peoples  inclined  to  abuse  of 
freedom  and  blind  to  the  difference  between  hilarity  and  excess.  For 
instance,  the  Donnybrook  fair  of  Ireland  became  a  byword  and  reproach 
by  reason  of  its  drunkenness,  fights  and  crimes,  and  had  to  be  sup- 


24 


THE  PA'RIS  EXPOSITION. 


pressed  by  statute.  But  this  was  not  true  of  all.  On  the  contrary,  the 
generality  of  English  fairs  grew  in  importance,  and  became  valuable 
even  to  the  crown,  which  exacted  a  license  for  the  privilege  of  holding 
them,  and  also  to  the  church  which  found  in  them  liberal  sources  of  char¬ 
ity.  In  France,  among  an  affable  people,  fond  of  intercourse’  and  ra¬ 
tional  amusement,  the  fair  grew  into  an  institution  so  interesting  and 
useful  to  the  people,  that  it  won  kingly  favor  and  attracted  attendance 
from  neighboring  states  of  the  continent. 

The  fair  was  now  to  undergo  other  transformations,  not  rapid,  but 
slow  aud  sure.  It  was  to  gradually  lose  its  commercial  spirit  and  value 
for  something  more  lofty  and  pervasive.  The  conditions  of  its  origin 
and  existence  were  changing  with  the  years.  Population  was  growing 
more  dense,  and  the  social  instinct  could  be  exercised  directly  among 
the  people  themselves.  Central  marts  multiplied  in  number  and  became 
more  contiguous  to  the  people.  Water  traffic  by  canal  and  river  assured 
a  daily  supply  of  wares  in  the  very  heart  of  communities  once  remote. 
Means  of  land  travel  by  better  highways  and  by  railway  brought  mar¬ 
kets  to  the  verge  of  field  and  mine  and  forest,  and  in  return  carried  away 
with  swiftness  and  ease  the  products  that  invited  transportation.  The 
fair  that  people  had  gone  scores  of  miles  to  see  and  sell  and  buy  in  once 
a  year  had  come  to  their  very  doors  to  be  seen  daily. 

In  noticing  the  transformations  which  gradually  came  over  the  fair, 
it  remained  as  much  as  ever  the  creature  of  conditions,  of  environment, 
and  perhaps  even  more,  since  it  now  lacked  the  stimulus  and  selfishness 
of  commercialism.  It  was  still  to  be  a  thing  devoted  to  the  material, 
but  to  the  material  in  conjunction  with  the  intellectual.  The  mart  idea 
was  to  pass  away,  but  the  show  idea  was  to  bloom  more  luxuriantly  than 
ever.  Amusement  there  might  be,  but  it  would  be  that  afforded  by  wit¬ 
nessing  the  wonders  of  genius  and  skill.  Interchange  of  thoughts  was 
to  be  substituted  for  interchange  of  wares.  The  ancient  fair  was  to  be- 


ORIGIN  AND  GROWTH  OF  EXPOSITIONS. 


25 


come  a  modern  school,  its  visitors  scholars  of  art  and  science,  its  teachers 
the  visible  but  mute  results  of  enlightened  and  progressive  effort  on  the 
part  of  those  making  their  displays. 

This  evolution,  like  all  others  that  have  led  to  happy  culminations, 
moved  slowly,  yet  swiftly  enough  to  keep  even  pace  with  the  conditions 
that  encouraged  it.  It  began  to  manifest  itself  in  tangible  effort, 
speech  and  writing  about  the  middle  of  the  eighteenth  century,  and  by 
1760  it  became  concrete  through  the  agency  of  the  London  Society  of 
Arts  which,  in  that  year  organized  an  exhibition,  the  first  of  its  kind,  of 
specimens  of  improvement  in  the  useful  arts  and  manufactures.  As  an 
encouragement  to  send  exhibits,  and  in  order  to  foster  genius  and  skill, 
it  originated  the  system  of  awards  of  prizes  and  premiums  where  excep¬ 
tional  merit  was  shown.  It  ought  to  be  particularly  noted  that  this  in¬ 
spiring  and  creating  influence  was  that  of  an  art  society.  Yet  it  was 
comprehensive  enough  to  include  in  its  fostering  aim,  as  was  proclaimed 
in  its  schedules  and  advertisements,  manufactures,  science,  mechanical 
and  agricultural  industry,  the  fishery  trade  and  colonial  commerce  of  the 
country.  The  limitation  to  its  energy  and  influence  was  that  it  looked 
not  beyond  encouragement  to  native  ingenuity  only. 

But  this  was  not  a  serious  defect,  for  of  their  own  volition  other 
countries  immediately  took  up  the  idea  and  made  it  bear  fruit  in  one  form 
or  another.  In  youthful  and  progressive  America  it  took  the  form  of 
mechanics’  institutes  and  free  libraries  for  artisans,  the  latter  a  perpetual 
fountain  of  information  for  those  of  limited  time  and  means,  the  former  a 
permanent  room  for  the  achievements  of  hand  and  brain,  and  a  school 
of  useful  instruction  by  means  of  demonstrations  and  lectures,  the  fair 
feature  being  still  a  survival  through  annual  exhibitions,  more  or  less 
ostentatious  in  style,  dependent  on  the  number  of  articles  loaned  or  con¬ 
tributed  by  those  of  patronizing  turn.  Very  soon  the  institute  reached 
further  and  became  more  popular  through  the  inducement  of  liberal 


26 


THE  PARIS  EXPOSITION. 


prizes  and  honorary  diplomas  which  had  the  effect  of  enlisting  friends 
more  warmly,  and  attracting  all  who  sought  distinctive  recognition  and 
official  approval  of  their  genius  and  enterprise.  So  important  an  agency 
for  the  encouragement  of  invention  and  skilled  workmanship  did  the 
institute  become  that  even  governments  came  to  recognize  them  and 
take  them  under  their  patronage.  This  was  so  in  the  first  institute  ex¬ 
hibition  at  Paris,  in  1798.  When  government  patronage  became  a  cus¬ 
tom,  the  transition  was  rapid  and  easy  from  the  local  exhibition,  under 
institute  auspices,  to  the  national  exhibition,  illustrative  of  state  achieve¬ 
ment  and  progress,  and  stimulating  to  the  pride  and  energy  of  the  par¬ 
ticular  people  interested.  Thus,  to  mention  France  again,  she  em¬ 
barked  by  legislative  enactment,  as  early  as  1800,  upon  a  series  of  tri¬ 
ennial  national  exhibitions,  which  unfortunately  came  to  an  end  after  a 
few  trials,  through  the  vicissitudes  of  politics. 

If  we  except  the  agricultural  fair,  state  exhibitions  never  came  into 
favor  in  the  United  States.  But  of  the  agricultural  fair  it  must  be  said 
that  though  the  idea  was  English  born,  it  found  its  fullest  elaboration 
and  exemplification  in  this  country  of  magnificent  inducements  and  op¬ 
portunities.  Yet,  strange  as  it  may  appear,  this  class  of  fair  had  to  work 
a  tardy,  almost  hostile,  way  to  recognition  and  popularity.  When  its 
father,  Elkanah  Watson,  of  Plymouth,  Mass.,  first  proposed  an  agricult¬ 
ural  fair  and  cattle  show,  in  order  that  farming  conditions  might  be  bet¬ 
tered  and  breeds  improved,  his  project  was  coldly  received,  even  by 
farmers.  It  took  years  of  persuasion  to  induce  his  community  to  con¬ 
tribute  sufficiently  of  their  soil  products  and  breeds  to  make  his  first  ex¬ 
hibition  of  1810  a  success,  and  even  this  was  not  achieved  without  pre¬ 
mium  offers  in  cash. 

His  subsequent  efforts  to  repeat  this  success  in  Massachusetts  met 
with  rebuff  and  derision.  Said  John  Adams  to  him,  when  he  was  mak¬ 
ing  an  appeal  in  Boston  for  aid,  “Commerce,  literature,  theology,  medi- 


OLD  PARIS  AND  THE  TROCADERO. 


ORIGIN  AND  GROWTH  OF  EXPOSITIONS.  29 

cine,  the  university  and  universal  politics  are  against  you.”  What  won¬ 
der  that  he  transferred  his  energies  and  enthusiasm  to  Albany,  N.  Y. ! 
Here  he  founded  the  first  agricultural  society  of  the  State,  and  under  its 
auspices  held  many  fairs  and  stock  shows.  He  induced  the  legislature, 
in  1819,  to  appropriate  $10,000  a  year,  for  six  years,  for  the  encourage¬ 
ment  of  agriculture  and  manufactures,  the  various  local  societies  to 
raise  a  like  amount.  The  State  Society,  whose  foundation  he  secured  in 
1832,  became  the  father  of  the  agricultural  departments  which  have  since 
found  existence  in  nearly  every  State  of  the  Union.  While  the  State 
agricultural  fair  drifted  into  the  permanent  department,  the  country  fair 
lost  its  hold,  in  some  measure,  on  popular  favor  by  innovations — such  as 
horse  racing  and  games — foreign  to  that  spirit  of  show  of  cattle,  fruits, 
etc.,  which  brought  it  into  existence. 

During  the  Civil  War — 1861-65 — there  was  a  development  of  fairs 
along  mixed  commercial  and  humanitarian  lines  which  became  general 
throughout  the  United  States,  and  no  form  of  raising  money  to  provide 
necessities  for  sick  and  wounded  soldiers  in  field  and  hospital  was  so 
popular  and  successful.  Akin  to  them  is  the  church  fair,  regarded  as  a 
warrantable  blending  of  commercialism  and  charity.  Special  interests 
incline  more  and  more  to  fixed  or  periodical  shows  of  their  products. 
Thus,  those  interests  get  together  at  a  certain  date  or  in  a  certain  place 
and  exhibit  in  an  educative,  commercial  and  competitive  spirit  their 
special  outputs,  as  of  electrical  appliances,  machinery,  wood-working, 
food  preparations,  art  works.  Sportsmen  cultivate  the  line  of  horse  and 
dog  shows.  Then  there  is  a  rapid  growth  of  permanent  expositions  or 
museums  in  this  country  after  the  fashion  of  those  in  the  older  cities  of 
Europe.  Philadelphia  dates  her  permanent  art  exposition  from  the 
Centennial  Exposition  of  1876,  and  Chicago  has  her  Field  Columbian 
Museum,  which  is  the  Art  Palace  of  the  Columbian  Exposition  of  1893, 
as  permanently  endowed  by  Marshall  Field.  The  most  imposing  exem- 


36 


THE  PARIS  EXPOSITION. 


plification  of  this  class  of  exposition  is  that  known  as  the  Commercial 
Museum,  located  at  Philadelphia,  of  which  a  word  will  be  said  in  chron¬ 
ological  place. 

In  1850,  the  London  Society  of  Arts  designed  to  extend  the  scale 
of  its  annual  exhibitions  so  as  to  embrace  the  products  of  the  entire 
kingdom.  But  Prince  Albert  enlarged  upon  the  idea,  and  conceived 
that  it  would  be  beneficial  to  throw  the  exhibition  of  the  following  year 
open  to  the  industries  of  the  whole  world.  The  thought  struck  a 
popular  vein,  and  a  commission  was  appointed  to  organize  and  control 
the  enterprise.  Grounds  containing  some  twenty  acres  were  selected 
as  a  site.  A  plan  for  a  building,  composed  of  iron  and  glass,  was  agreed 
upon.  The  building  was  to  cost  some  $400,000,  and  was  to  remain 
the  property  of  the  builder.  Its  length  was  1851  feet,  breadth  408  feet, 
with  a  northern  projection  of  936  feet  by  48  feet.  It  was  turned  over 
to  the  commissioners  on  February  3,  1851,  and  the  announcement  was 
made  that  the  “Exhibition  of  the  Works  of  Industry  of  Ail  Nations” 
would  be  opened  on  May  1,  1851. 

The  foreign  response  to  this  enterprise  was  far  more  liberal  than 
was  expected.  Nearly  every  country  in  Europe  became  an  exhibitor. 
Most  of  the  States  of  the  United  States  were  represented,  as  were  the 
republics  of  South  America.  India,  Egypt,  Persia,  the  British  Col¬ 
onies,  and  many  of  the  islands  of  the  seas,  were  present  with  exhibits. 
The  arrangement  provided  for  four  grand  groups — Raw  Materials,  Ma¬ 
chinery,  Manufactures,  Fine  Arts,  whose  value  was  estimated  at  nearly 
$10,000,000.  The  Exhibition  was  opened  on  May  1,  1851,  and  closed 
on  October  1 1,  1851,  with  15,000  separate  exhibitors.  The  daily  attend¬ 
ance  was  42,111,  and  the  total,  6,063,986.  The  highest  attendance  in 
any  one  day  was  109,915.  It  brought  to  London  only  about  40,000 
foreigners  as  special  visitors.  The  total  expenditures  were  about 
$1,650,000,  and  total  receipts  $2,530,000,  leaving  a  net  profit  of  some 


ORIGIN  AND  GROWTH  OF  EXPOSITIONS. 


3* 


$880,000.  Medals  and  honorable  mentions  to  the  number  of  5,084  were 
issued,  and  as  showing  the  internationality  of  the  enterprise,  foreigners 
who  occupied  only  two-fifths  of  the  exhibition  space  carried  away  three- 
fifths  of  the  prizes,  these  being  mostly  for  textile  fabrics,  fine  arts,  raw 
materials  and  miscellaneous  manufactures.  In  the  domain  of  machin¬ 
ery,  metal  manufactures  and  manufactures  of  glass  and  porcelain,  Brit¬ 
ish  exhibitors  took  the  larger  per  cent,  of  prizes. 

This  first  world’s  exhibition  at  once  became  historic,  and  its  influ¬ 
ence  extended  widely.  It  had  been  an  experiment  in  an  untried  field, 
and  it  had  paid  its  way  with  a  handsome  surplus  left,  to  say  nothing  of 
its  incidental  advantages.  The  very  next  year  (1852)  the  Cork  trien¬ 
nial  exhibition  of  the  arts  an^  manufactures  of  Ireland  was  greatly  en¬ 
larged,  and  that  of  the  Dublin  Society  in  1853  was  turned  into  an  inter¬ 
national  one. 

A  desire  to  repeat  the  London  experiment  in  the  United  States 
came  back  with  visitors,  and  a  company  was  formed  in  New  York  for 
the  purpose.  In  January,  1852,  it  was  granted  the  use  of  Reservoir 
Square  for  five  years  on  certain  conditions  as  to  the  size  and  material  of 
an  exhibition  building.  The  entrance  fee  was  not  to  exceed  fifty  cents. 
The  New  York  Legislature  incorporated  the  company  in  March,  1852, 
under  the  name  of  the  “Association  for  the  Exhibition  of  the  Industries 
of  all  Nations.”  Its  capital  was  $200,000,  with  privilege  of  increase  to 
$300,000.  The  Federal  government  made  its  building  a  bonded  ware¬ 
house  and  exempted  all  foreign  exhibits  from  duty.  It  was  strictly  a 
private  enterprise,  and  was  opened  July  14,  1853,  with  4800  exhibitors, 
nearly  half  of  whom  were  foreign.  It  had  to  contend  with  a  site  too 
small  in  area  and  too  far  from  the  centre  of  the  city,  with  its  unfinished 
structure  of  glass,  iron  and  wood  on  opening  day,  and  with  general  mis¬ 
management  throughout.  It  remained  open  for  119  days  at  a  total 
cost  of  $1,000,000,  and  with  receipts  of  only  $340,000.  Though  a  dis- 


32 


THE  PARIS  EXPOSITION. 


mal  financial  failure,  it  was  by  no  means  held  in  vain,  for  no  world 
exhibition  was  ever  a  failure  in  intellectual  and  industrial  results. 

Under  the  inspiration  furnished  by  the  London  exhibition  of  1851, 
France  also  determined  to  repeat  the  experiment  by  enlarging  the  na¬ 
tional  scope  of  her  former  exhibitions  to  international  proportions.  The 
government  took  the  matter  in  hand  and  issued  guarantees  to  the  cor¬ 
porations  in  pharge.  The  principle  of  a  single  show-structure  was 
abandoned,  and  several,  with  special  adaptation  for  their  purpose,  were 
erected.  A  main  building  called  the  Palace  of  Industry  was  erected  by 
a  joint  stock  company  in  the  Elysian  Camps.  It  was  composed  of  stone, 
glass  and  brick,  was  850  feet  long  by  350  wide,  and  had  a  floor  space 
of  1,770,000  square  feet.  Other  buildings,  as  the  Palace  of  Fine  Arts, 
the  Panorama,  and  three  for  agricultural  implements,  vehicles  and 
miscellaneous  displays,  were  erected  by  other  corporations,  backed  by 
the  government.  The  total  cost  of  the  buildings  was  about  $5,000,000. 
The  Palace  of  Industry  remained  as  a  permanent  structure,  and  was  not 
torn  down  until  1900,  when  it  gave  way  to  a  site  for  the  two  Palaces  of 
Fine  Arts.  The  exhibition  was  opened  May  15,  1855,  and  closed  on 
November  15.  There  were  20,839  exhibitors,  a  little  less  than  half  of 
whom  were  foreign.  It  was  visited  by  nearly  5,000,000  people,  and  was 
regarded  as  a  substantial  success. 

Passing  over  the  many  industrial  art  displays  of  local  significance — ■ 
Madras  and  New  Brunswick,  1853;  Munich,  1854;  Edinburgh  and 
Manchester,  1857 — we  come  to  the  second  London  exhibition,  that  of 
1862.  As  with  the  first,  a  commission  undertook  this  second  one,  but 
with  a  guarantee  fund  of  $2,500,000.  The  French  idea  of  separate 
buildings  was  adopted.  The  site  was  South  Kensington,  the  main 
building  of  brick,  glass  and  iron,  covering  about  seven  acres.  The 
annexes  increased  the  area  under  roof  to  twenty-three  acres.  It  was 
opened  May  1,  1862  ,  and  remained  opened  117  days.  The  foreign 


ORIGIN  AND  GROWTH  OF  EXPOSITIONS. 


33 


exhibitors  numbered  17,861,  and  they  captured  9,000  prizes.  It 
was  visited  by  6,211,103  persons,  or  an  average  of  36,329  daily.  The 
expenditures  exceeded  the  receipts  by  a  small  margin. 

France  immediately  announced  an  exposition  in  Paris  in  1867. 
This  was  to  exceed  all  previous  enterprises  in  plan,  size  and  interna¬ 
tional  features.  The  commission  was  given  the  Champ  de  Mars,  or  an¬ 
nual  parade  ground  of  some  120  acres,  for  the  occasion.  Its  centre  was 
devoted  to  the  main  structure,  1607  feet  long  by  1246  wide,  costing 
$2,357,00°.  Minor  buildings  accommodated  special  exhibits.  For¬ 
eigners  could  erect  their  own  buildings  for  characteristic  exhibits.  This 
was  regarded  as  a  wonderful  innovation.  The  exposition  opened  April 
1,  1867,  and  closed  on  October  31.  There  were  51,819  exhibitors.  It 
was  visited  by  15,000,000  people,  or  70,000  daily.  The  expenditures 
were  $4,596,000,  and  receipts  $2,882,000,  but  as  the  national  and  mu¬ 
nicipal  governments  had  each  contributed  $1,200,000,  there  was  a  sur¬ 
plus  of  $626,000. 

London  now  projected  a  series  of  three  annual  exhibitions.  The 
first  was  held  in  1871,  and  was  devoted  to  arts  and  industries,  in  which 
thirty-three  foreign  nations  became  exhibitors  of  some  11,000  exhibits. 
The  attendance  was  1,142,000.  The  second,  that  of  1872,  was  limited 
to  displays  of  textiles,  fine  arts,  printing  machinery,  paper,  goldsmith’s 
work,  musical  instruments,  etc.  The  third,  that  of  1873,  was  devoted  to 
cookery,  foods  and  domestic  subjects. 

Austria  now  came  into  the  field  as  an  aspirant  for  international 
exposition  honors.  She  planned  her  universal  exposition  of  1873  with 
admirable  foresight,  and  introduced  the  feature  of  world  congresses  for 
the  discussion  of  universal  questions.  The  exposition  was  opened  May 
1,  1873,  and  closed  November  3.  There  were  70,000  exhibitors,  repre¬ 
senting  every  part  of  the  world.  The  United  States  alone  had  643  ex¬ 
hibitors,  more  than  half  of  whom  took  prizes.  The  visitors  numbered 


34 


THE  PARIS  EXPOSITION. 


7,250,000,  and  the  expenditures  exceeded  the  receipts  by  some  $7,850,- 
000,  which  deficit  the  government  made  up.  The  success  of  this  expo¬ 
sition  was  greatly  interf erred  with  by  an  outbreak  of  cholera  in  Vienna, 
local  extortions  and  a  money  crisis. 

The  centennial  of  the  Declaration  of  Independence  gave  the 
United  States  another  opportunity  to  conduct  an  international  exposi¬ 
tion.  In  March,  1871,  Congress  created  a  United  States  Centennial 
Commission,  to  be  composed  of  a  member  from  each  State  and  Terri¬ 
tory.  This  commission  chose  a  President  and  other  working  officers, 
also  an  executive,  or  working,  committee.  On  an  estimated  expendi¬ 
ture  of  $10,000,000,  capital  stock  was  apportioned  among  the  States, 
but  a  special  Board  of  Revenue  had  in  hands  the  collection  of  subscrip¬ 
tion  and  cash  funds.  An  invitation  (July  3,  1873)  was  sent  to  the  na¬ 
tions  to  participate  in  an  “International  Exhibition  of  arts,  manufac¬ 
tures  and  products  of  soil  and  mine,  in  Philadelphia,  in  1876,  opening 
on  April  19,  and  closing  October  19.”  Thirty-two  foreign  states  re¬ 
sponded. 

Philadelphia  placed  236  acres  in  Fairmount  Park  at  the  disposal  of 
the  commission  for  buildings,  and  an  additional  large  space  for  shows 
not  requiring  buildings.  A  main  buildings  was  erected,  1880  feet  long 
by  464  wide.  It  covered  21.47  acres,  had  a  floor  space  of  936,000  square 
feet,  and  cost  $1,600,000.  Memorial  Hall,  devoted  to  art  and  designed 
to  be  permanent,  was  erected  at  a  cost  of  $1,500,000.  It  was  365  feet 
long  and  210  wide.  Machinery  Hall  was  1402  feet  long  by  360  wide. 
Horticultural  Hall  was  erected  for  a  permanent  purpose.  The  Agri¬ 
cultural  building  was  630  feet  long  by  465  wide,  with  a  nave  826  feet 
long  by  100  wide.  These  five  immense  structures  constituted  the 
nucleus  of  the  Exposition.  They  were  surrounded  by  many  other  spec¬ 
ially  constructed  buildings,  making  quite  a  city.  These  were  the  larg¬ 
est  grounds  and  most  extensive  building  spaces  ever  devoted  to  exhi- 


ORIGIN  AND  GROWTH  OF  EXPOSITIONS. 


3? 


bition  purposes,  up  to  that  time.  They  represented  an  outlay  of  $20,- 
000,000,  of  which  the  United  States  loaned  $1,500,000,  the  State  of 
Pennsylvania  gave  $1,000,000,  and  the  city  of  Philadelphia  gave  $1,500,- 
000.  The  loan  by  the  United  States  was  repaid.  The  number  of  visi¬ 
tors  was  9,910,966,  and  it  was  counted  as  a  great  success  in  every 
respect. 

In  1878,  France  held,  at  Paris,  the  grandest  of  all  her  universal 
expositions,  up  to  that  date.  The  buildings  covered  a  hundred  acres  of 
ground,  and  the  nations  were  numerously  and  magnificently  repre¬ 
sented.  The  exhibits  numbered  80,000,  and  over  16,000,000  visitors 
entered  the  turnstiles. 

The  desire  to  commemorate  a  centennial  epoch  in  the  cotton  raising 
industry  of  the  United  States  led  to  an  exposition  in  that  behalf  in  At¬ 
lanta,  Ga.,  in  1881.  Though  of  only  local  historic  moment,  it  proved 
to  be  a  creditable  affair.  It  was  followed  by  a  larger  one,  involving  like 
historic  thought,  at  Louisville,  Ky.,  in  1883.  This  was  again  followed 
by  one  of  still  larger  proportions,  and  of  international  import  at  New 
Orleans,  La.,  in  the  winter  of  1884-85.  It  found  a  conception  in  the 
National  CottonPlanters’  Association,  and  as  a  universal  exhibition,  but 
with  the  cotton  industry  as  a  dominant  feature.  The  enterprise  was  in¬ 
corporated  by  the  Congress  of  the  United  States  under  the  names  of  the 
“World’s  Industrial  and  Cotton  Centennial  Exposition.”  The  govern¬ 
ment  loaned  it  $1,000,000  and  appropriated  $300,000  for  the  erection  of 
a  handsome  Federal  Building.  The  State  of  Louisiana  gave  $100,000, 
to  be  expended  in  the  erection  of  a  permanent  Horticultural  Hall.  Var 
ious  corporations,  especially  railway,  took  stock  in  the  enterprise,  esti¬ 
mated  at  $500,000.  Commissioners  were  appointed  for  the  various 
States  and  Territories,  and  invitations  were  sent  out,  through  the  gov¬ 
ernment  at  Washington,  to  all  foreign  nations  to  send  their  exhibits  for 
display  at  New  Orleans  between  December  1,  1884  and  May  31,  1885. 


36 


THE  PA&IS  EXPOSITION. 


The  site  chosen  was  Upper  City  Park,  containing  245  acres  of  land.  A 
Main  Building  was  erected  in  its  centre,  1378  feet  long  by  905  wide.  It 
was  of  wood  covered  with  glass.  It  occupied  thirty-three  acres  of 
ground.  In  its  centre  was  a  Music  Hall  with  a  seating  capacity  of 
11,000.  From  its  rear  stretched  an  immense  hall  devoted  to  machin¬ 
ery.  Its  southern  extension,  570  by  120  feet,  was  given  up  to  mills  and 
factories  in  operation. 

The  Federal  Building  was  an  imposing  structure  885  feet  long  by 
565  wide.  It  contained  the  United  States’  exhibits  and  those  special  to 
the  respective  States.  The  Horticultural  Hall  was  600  feet  long  by  194 
feet  wide,  and  constructed  of  iron  and  glass.  There  was  an  Art  Build¬ 
ing  250  by  100  feet.  Many  other  structures  of  special  architecture  and 
adaptation  served  to  increase  the  area  devoted  to  buildings,  which  was, 
in  all,  some  seventy-six  acres,  or  2,673,588  square  feet  of  show  space. 
Displays  of  woman’s  work,  of  the  work  of  the  colored  race,  of  the  cul¬ 
tivation  and  manufacture  of  cotton,  and  of  the  rice  and  sugar  indus¬ 
tries,  constituted,  as  a  matter  of  course,  significant  features  of  this  cred¬ 
itable  enterprise. 

Paris,  which  might  be  said  at  this  date  to  have  become  the  home 
of  the  “Exposition  Universale” — World  Exposition — was  in  readiness 
for  the  opening  of  another  one  by  May  5,  1889.  Following  the  Amer¬ 
ican  idea,  this  was  to  be  a  commemorative  occasion,  in  honor  of  the  cen¬ 
tennial  of  the  French  revolution.  For  this  reason  the  monarchical  gov¬ 
ernments  did  not  lend  it  official  recognition,  though  they  encouraged 
individual  competition.  The  United  States  and  Switzerland  gave  it 
official  acknowledgment.  Notwithstanding  these  drawbacks  it  proved 
to  be  the  most  ambitious  and  comprehensive  enterprise  of  the  kind 
France  had  ever  indulged  in,  and  the  world  had  not  seen  its  equal.  It 
occupied  a  much  larger  space  than  any  of  its  predecessors,  completely 
covering  the  space  of  the  Champ  de  Mars,  and  connecting  at  the  Jena 


OLD  PARIS— ST.  MICHAEL’S  GATE.  MAP  OP  FRANCE  IN  PRECIOUS  JEWELS. 

Presented  to  France  by  the  Czar  of  Russia. 


ORIGIN  AND  GROWTH  OF  EXPOSITIONS. 


39 


Bridge  over  the  Seine  with  the  gardens  of  the  Trocadero.  The  build¬ 
ings  were  chiefly  of  glass  and  iron,  and  of  very  picturesque  designs. 
A  great  palace  was  erected  in  the  Trocadero  gardens,  called  the  Troca¬ 
dero  Palace,  which  remained  as  a  permanent  structure,  and  formed  one 
of  the  imposing  sights  of  the  Exposition  of  1900.  The  Palace  of  Gen¬ 
eral  Industries  was  crowned  with  a  dome  250  feet  high,  and  the  Machin¬ 
ery  Palace,  the  largest  building  under  one  roof  in  the  world,  up  to  that 
date,  covered  an  area  of  1,800,000  square  feet.  There  were  60,000 
exhibitors  at  this  exposition,  and  33,139  awards  of  prizes.  The  visitors 
numbered  6,500,000,  of  whom  5,000,000  were  French,  and  1,500,000 
foreign. 

The  next  all-world  exposition  was  that  in  commemoration  of  the 
four  hundredth  year  of  the  discovery  of  America  by  Columbus. 
Schemes  for  the  celebration  of  this  event  began  to  be  broached  soon  after 
the  close  of  the  Centennial  Exposition  of  1876.  One  was  the  erection 
of  a  permanent  museum  in  Washington,  in  1892,  to  illustrate  the  pro¬ 
gress  of  the  North  American  Continent,  since  its  discovery.  But  public 
sentiment  inclined  to  something  more  comprehensive — a  world’s  fair. 
Washington,  New  York,  St.  Louis  and  Chicago,  urged  their  fitness  as 
sites  for  the  occasion.  On  April  25,  1890,  Congress  selected  Chicago 
as  the  site,  on  the  strength  of  the  fact  that  she  had  pledged  subscrip¬ 
tions  to  the  amount  of  $5,000,000.  On  the  same  date,  Congress  rec¬ 
ognized  the  “World’s  Columbian  Exposition,”  an  Illinois  corporation 
previously  formed,  and  appointed  the  “World’s  Columbian  Commis¬ 
sion,”  composed  of  two  members  from  each  State  and  Territory,  two 
from  the  District  of  Columbia,  and  eight  at  large.  The  organizing 
corporation  was  to  guarantee  a  subscription  of  $10,000,000,  and  make 
an  actual  payment  of  $500,000,  before  these  commissioners  finally  rat¬ 
ified  the  selection  of  the  site.  Later  on,  a  “Board  of  Lady  Managers” 


4o 


THE  PARIS  EXPOSITION. 


and  a  “World’s  Auxiliary  Congress”  were  added,  and  these  four  bodies 
managed  the  exposition  through  their  representatives. 

The  site  selected  was  Jackson  Park,  six  miles  south  of  the  centre 
of  Chicago.  It  contained  533  acres,  and  extended  for  a  mile  and  a  half 
along  Lake  Michigan.  To  this  was  added  Midway  Plaisance,  a  space 
of  80  acres,  which  extended  a  mile  westward  and  connected  with  the 
city’s  park  system.  The  designing  and  construction  of  grounds  and 
buildings  were  placed  in  charge  of  a  chief  of  construction  who  chose  the 
most  prominent  architects,  and  landscapists  of  the  United  States  to 
assist  him.  The  plans  of  the  separate  buildings  were  assigned  to  separ¬ 
ate  architects,  but  their  acceptance  depended  on  the  central  corps,  so  as 
to  assume  unity  of  purpose  with  freedom  of  detail. 

On  the  grounds  as  selected,  there  were  erected  in  all  about  150 
buildings.  Of  these  the  largest  was  that  of  Manufactures  and  Liberal 
Arts,  1,687  feet  long  by  787  wide,  and  costing  $1,500,000.  Others  of 
prime  importance  were  Machinery  Hall,  842  feet  long  by  494  wide,  and 
costing  $1,285,000;  Administration  Building  262  feet  square  and  cost¬ 
ing  $435,000;  Agricultural  Building,  800  feet  long  by  500  wide,  costing 
$618,000;  Electricity  Building,  690  feet  long  by  350  wide,  costing  $401,- 
000;  Mining  Building,  700  feet  long  by  350  wide,  costing  $265,000; 
Transportation  Building,  960  feet  long  by  256  wide,  costing  $370,000; 
Fisheries  Building,  361  feet  long  by  162  wide,  costing  $224,000;  Horti¬ 
cultural  Building,  997  feet  lpng  by  250  wide,  costing  $300,000;  Fine 
Arts  Building,  500  feet  long  by  320  wide,  costing  $670,000;  and  still 
others  of  like  importance  and  hardly  less  dimensions  and,  cost,  as  the 
United  States  Government  Building,  Forestry  Building,  Woman’s 
Building,  Live  Stock  Building,  Music  Hall  and  the  Casino.  Foreign 
governments  appropriated  a  total  of  $6,511,520  for  their  respective 
buildings  and  exhibits,  France  leading  with  $650,000 ;  followed  by  Japan, 
$630,000;  Brazil,  $600,000;  Germany,  $214,200;  Austria,  $149,000. 


ORIGIN  AND  GROWTH  OF  EXPOSITIONS. 


41 


The  States  and  Territories  of  the  United  States  expended  $6,020,850  for 
buildings  and  exhibits.  The  total  cost  of  construction  was  $18,322,622. 

Full  advantage  was  taken  of  the  site  upon  the  shores  of  Lake  Mich¬ 
igan.  Two  navigable  canals  let  the  waters  of  the  lake  into  basins  and 
lagoons  in  the  exhibition  grounds,  and  a  magnificent  pier  stretched  1200 
feet  into  the  lake.  The  effect  of  these  interior  water-ways  was  to  rest 
and  refresh,  to  reflect  and  double  the  architectural  features  along  their 
shores,  and  to  furnish  agreeable  means  of  transit  in  gondolas,  launches 
and  other  water-craft.  The  artistic  and  popular  verdict  was  that  the 
ensemble  stood  unrivalled  for  variety  of  architectural  beauty  and  unity 
of  effect.  The  material  known  as  “Staff,”  which  had  been  first  used 
for  building  purposes  at  the  Paris  exposition  of  1889,  was  brought  into 
general  requisition,  and  justly  warranted,  as  applied  to  the  immense 
aggregate  of  structures,  the  cognomen  of  “The  White  City.” 

The  erection  of  buildings  began  in  June,  1891.  On  October  23, 
1892,  the  grounds  were  turned  over  to  the  national  commission,  and  the 
buildings  were  dedicated  in  the  presence  of  130,000  people.  The  Ex¬ 
position,  owing  to  its  unfinished  state,  was  not  formally  opened  until 
May  1,  1893.  The  average  daily  attendance  of  paid  admissions  was 
172,712,  apd  the  largest  attendance  on  any  one  day  was  716,881,  it 
being  “Chicago  Day.”  The  highest  record  of  any  one  day  at  the  Paris 
Exposition  of  1889  was  about  400,000,  and  that  of  the  Centennial  257,- 
000.  The  total  attendance  during  the  whole  Columbian  Exposition 
was  27,500,000. 

The  Exposition  was  todrave  been  formally  closed  with  an  elaborate 
program  on  October  28,  1893,  but  the  death  of  the  mayor  of  Chicago 
prevented.  It  was  closed  on  October  30,  without  other  ceremony  than 
a  simple  lowering  of  the  flags,  and  the  work  of  dismantling  began  the 
next  day.  The  Fine  Arts  Building  became  a  permanent  museum,  and 
received  rich  endowments  from  liberal  citizens. 


42 


THE  PARIS  EXPOSITION. 


The  cost  of  the  World’s  Columbian  Exposition  to  the  direct  man¬ 
agement  was  $25,500,000.  Add  to  this  the  amount  appropriated  by  the 
U.  S.  Government,  by  foreign  governments,  and  by  States  and  Terri¬ 
tories,  for  their  buildings  and  exhibits,  and  the  grand  total  of  cost 
amounted  to  over  $40,000,000.  The  receipts  from  all  sources,  includ¬ 
ing  $5,604,171  realized  from  sale  of  stock, $5,000,000  given  by  the  city  of 
Chicago,  and  $2,448,032  realized  from  the  souvenir  coins  issued  by  the 
United  States,  amounted  to  $28,151,168.  There  was,  therefore,  a  net 
profit  of  some  $1,850,000. 

During  the  Exposition  conventions  were  held  under  the  auspices 
of  the  World’s  Congress  Auxiliary,  at  which  were  discussed  philosophi¬ 
cal,  educational,  religious  and  economic  problems  from  an  international 
standpoint.  Of  these  gatherings,  the  World’s  Parliament  of  Religion 
attracted  the  most  attention.  In  all  there  were  65,422  exhibitors  at 
the  Exposition,  and  23,757  medals  were  awarded,  the  jury  reporting 
upon  250,000  separate  exhibits. 

The  Southern  States  were  again  inspired  to  an  Exposition,  of  both 
local  and  general  import.  Owing  to  the  constitutional  inability  of  their 
legislatures  to  appropriate  public  money  for  a  proper  exemplification 
of  their  industries  at  the  Columbian  Exposition,  and  with  a  view  to  the 
promotion  of  a  larger  trade  with  South  American  and  Europe,  an  enter¬ 
prise,  which  was  private  in  character,  except  the  official  aid  of  $75,999 
received  from  the  city  of  Atlanta,  was  set  on  foot  under  the  name  of 
the  “Cotton  States  and  International  Exposition.”  It  opened  at 
Atlanta,  Ga.,  September  18,  1895.  The  site  was  a  tract  of  189  acres, 
two  miles  from  the  centre  of  the  city.  Not  only  the  Southern,  but  many 
of  the  Northern  and  Western  States  aided  the  enterprise  with  special 
buildings  and  exhibits.  There  were  thirteen  large  buildings,  of  which 
that  of  the  U.  S.  Government  occupied  the  most  conspicuous  position. 
The  Administration  Building  was  a  fantastic  compound  of  architectural 


PALACE  OF  FONTAINEBLBU.  CHAMBER  OF  ANNE  OF  AUSTRIA, 


ORIGIN  AND  GROWTH  OF  EXPOSITIONS. 


45 

effects  from  various  antiquated  castles  of  Europe.  The  largest  build¬ 
ing  was  that  devoted  to  Manufactures  and  Liberal  Arts.  The  most 
original  of  all  was  that  for  Minerals  and  Forestry,  being  constructed 
entirely  of  wood  in  its  natural  state  from  the  several  Southern  States. 
The  Fine  Arts  and  Woman’s  Buildings  were  showy  and  well-adapted. 
The  Negro  Building  was  rendered  attractive  by  specimens  of  Negro 
industry  and  handiwork  from  fourteen  States.  The  cost  of  this  Expo¬ 
sition  was  some  $2,000,000.  It  was  closed  on  December  31,  1895. 

In  commemoration  of  the  one  hundredth  anniversary  of  the  admis¬ 
sion  of  the  State  of  Tennessee  into  the  Union,  an  International  Exposi¬ 
tion  was  held  at  Nashville,  the  state  capital,  from  May  1,  to  October  30, 
1897.  Its  date  should  have  been  one  year  earlier,  but  the  incorporators 
failed  to  raise  the  money  in  time.  Its  site  was  West  Side  Park.  Here 
was  erected  the  Centennial  City,  a  full-fledged  municipality,  with  all  its 
departments  and  officials.  A  characteristic  of  the  main  structures  was 
the  reproduction  with  great  fidelity  of  such  antique  specimens  as  the 
Parthenon,  Pyramid  of  Cheops,  Texas  Alamo,  Grotto  of  Capri,  and 
Egyptian  temples.  Other  novel  features  were  statues  of  classical  and 
mythological  subjects,  a  Chinese  farm,  cotton  and  tobacco  fields,  lakes 
and  fountains,  athletic  grounds.  The  State  made  a  fine  exhibit  of  its 
industries  and  resources.  About  190  acres  of  ground  were  devoted  to 
the  uses  of  this  Exposition.  The  total  attendance  was  1,886,714.  The 
expenditures  were  $1,087,227,  and  the  receipts  the  same. 

The  inspiration  for  International  Expositions  had  extended  beyond 
the  Mississippi.  The  pioneers  and  their  descendants  of  the  great  Trans- 
Mississippi  region  resolved  to  invite  the  world  to  see  the  wonderful  de¬ 
velopments  of  a  section  which,  within  living  memory,  had  few  occupants 
other  than  Red  Men.  The  enterprise  was  undertaken  under  the  name 
of  the  “Trans-Mississippi  and  International  Exposition  at  Omaha/’ 
The  site  was  a  plauteau  just  north  of  the  city.  The  grounds  were  laid 


3 


46 


THE  PARIS  EXPOSITION. 

out  so  as  to  take  advantage  of  the  natural  outlines,  and  the  buildings  fol¬ 
lowed  architectural  designs  of  striking  originality.  In  respect  of  ma¬ 
terial — “Staff” — they  suggested  a  second  “White  City.”  All  the  build¬ 
ings  were  capacious  and  admirably  adapted  for  their  purposes.  The 
Government  Building  was  particularly  imposing,  being  of  the  Ionic 
order,  surmounted  by  a  colossal  dome  supporting  a  copy  of  Bartholdi’s 
statue  of  “Liberty  Enlightening  the  World.”  , 

It  was  opened  on  June  i,  1898,  and  closed  on  October  31.  The  to¬ 
tal  attendance  was  2,600,000,  the  largest  single  day  being  98,785.  The 
total  expenditures  were  $1,500,000,  and  the  total  receipts  $2,000,000. 

Of  the  Greater  America  Exposition  at  Omaha — July-November, 
1899,  an(l  the  Export  Exposition  and  World’s  Commercial  Congress  at 
Philadelphia — September-November,  1899,  the  historic  mention  made 
must  be  that  in  their  general  characteristics  they  indicated  a  departure 
from  the  traditional  features  of  the  Universal  Exposition.  They  were 
great  schools,  as  all  expositions  are,  but  without  competitive  display  as 
an  essential  factor.  They  savored  more  of  the  museum  than  of  the 
show,  more  of  the  place  of  inquiry  than  of  curiosity.  They  had  missions 
identical  with  the  Exposition  Universale,  yet  different,  for  their  lines  lay 
more  nearly  parallel  with  those  that  govern  the  commercial  instinct,  in 
the  quietude  of  its  office,  or  in  its  contemplative  outlook  for  new  oppor¬ 
tunities.  Many  of  these  characteristics  are  being  reflected  in  the  Paris 
Exposition  of  1900,  and  perhaps  to  its  advantage  from  a  strictly  utili¬ 
tarian  standpoint. 


The  Fairie  City. 


WO  thousand  years  ago,  Paris,  now  the  Fairie  City  of  the 
world,  or  as  some  prefer,  the  City  of  Light,  was  a  mis¬ 
erable  fishing  village  on  an  island  (now  lie  de  la  Cite) 
in  the  river  Sequana  (now  Seine).  The  fishermen  were 
Gallic  Celts  of  the  clan  Parisii.  The  first  historic  men¬ 
tion  of  the  place  was  by  Julius  Caesar,  in  55  B.  C.,  who  spoke  of  the 
Parisii  having  a  fort  on  the  island ;  but  he  called  the  place  Lutetia.  This 
name  survived  for  two  or  three  hundred  years,  and  was  then  gradually 
lost  in  the  resurrection  of  the  primitive  name — place  of  the  Parisii,  or 
Paris. 

As  Lutetia,  and  under  Roman  influence,  it  began  to  assume  import¬ 
ance.  The  Roman  emperor,  Constantius,  resided  there  (292-306).  Ju¬ 
lian  was  proclaimed  emperor  there  by  his  soldiers,  in  360  B.  C.  He  is 
credited  with  the  building  of  the  Palace  of  Thermae,  and  of  two  bridges 
connecting  the  island  with  the  left,  or  south,  bank  of  the  Seine,  where 
had  gathered  quite  a  numerous  population.  At  the  end  of  the  fourth 
century  it  had  become  the  seat  of  a  Roman  Catholic  bishop,  but  by  this 
time  the  name  Paris  had  been  substituted  for  Lutetia. 

It  assumed  further  importance  as  the  capital  of  the  Frankish  king, 
Clovis,  and  St.  Genevieve,  who  had  converted  Clovis,  became  its  patron 
saint.  Its  prosperity  received  a  check  under  the  rule  of  Emperor  Char¬ 
lemagne  (742-814),  who  removed  the  capital  to  Aix-la-Chapelle.  In 
885-86  it  was  besieged  in  vain  for  thirteen  months  by  30,000  Normans, 
and  through  this  success  took  the  first  decided  step  toward  its  grand  des¬ 
tiny.  Hugh  Capet  made  it  the  capital  of  his  kingdom,  and  it  remained 
the  capital  during  the  existence  of  the  Capetian  dynasty.  From  Louis 

47 


4* 


THE  PARIS  EXPOSITION. 


VI  to  Charles  V,the  growth  and  prosperity  of  Paris  began  to  find  expres¬ 
sion  in  its  municipal  administration  and  public  buildings.  During  the 
reign  of  Philip  Augustus  (i  180-1223)  the  city  grew  rapidly  in  population 
and  importance.  The  two  crude  bridges  which  connected  the  isle  of 
Cite  with  the  south,  or  left,  bank  of  the  Seine  were  replaced  with  stone, 
and  their  ends  defended  by  the  newly  erected  stone  fortresses  of  the 
Grand  and  Petit  (Little)  Chatelet  (small  castle).  At  this  date  too,  Paris 
started  on  that  intellectual  career  which  has  ever  distinguished  her. 
Three  colleges  were  founded,  which  drew  some  20,000  students  annu¬ 
ally  from  France  and  all  parts  of  Europe.  These  became  the  foundation 
of  the  university  which  did  so  much  to  increase  the  population  and  im¬ 
portance  of  the  city.  Shortly  a  theological  college  was  founded,  which 
afterward  bloomed  into  the  celebrated  Serbonne. 

Already  Paris  had  become  in  a  way  the  capital  of  Western  Europe. 
Provincial  and  foreign  princes  made  it  their  habitual  residence,  moved 
by  its  exquisite  architecture,  fine  streets,  evidences  of  art,  and  opportu¬ 
nity  for  amusement,  for  Parisians,  then  as  now,  enjoyed  the  reputation 
of  a  gay  people.  The  Hanseatic  League  gave  a  powerful  impetus  to  its 
commerce.  Its  fortifications  were  completed  by  the  building  of  a  great 
wall  around  the  city,  its  splendid  pavements  extended,  its  first  public 
markets  erected.  The  first  Louvre  was  designed  and  built,  which 
marked  the  resistance  of  royalty  to  the  great  feudal  nobles. 

With  the  growing  sense  of  municipal  power  and  in  obedience  to  a 
pardonable  local  pride,  the  Parisians  of  each  succeeding  reign  turned 
more  and  more  to  the  embellishment  of  their  city  and  adaptation  of 
means  to  make  it  healthy.  There  arose  such  beautiful  and  commodious 
structures  as  the  hotels  of  St.  Paul,  Cluny  and  Tremouille,  and  the  new 
fortress  which  became  odious  in  after  history  as  the  Bastile.  The 
transformation  of  old  medieval  Paris  went  on  under  Louis  XII  and  XIII. 
The  existing  Louvre  was  built  and  the  first  Hotel-de-Ville  (City  Hotel). 


AVENUE  BOIS  DE  BOULOGNE. 


THE  FAIRIE  CITY. 


S[ 


Catherine  de  Medici  built  the  Tuileries.  Henry  II  left  an  imperishable 
record  of  his  reign  in  magnificent  stone  and  marble  structures.  The 
religious  struggles  of  the  16th  century  checked  the  work  of  embellish¬ 
ment,  but  it  was  resumed  under  Henry  IV,  who  enlarged  the  Louvre 
and  Tuileries,  completed  the  City  Hotel,  transformed  the  Cite,  widened 
the  streets  and  quays  along  the  Seine,  planned  the  Royal  Palace,  and 
greatly  extended  the  city  to  the  west. 

During  the  reigns  of  LouisXIII  and  XIV  (1610-1643)  (1643-171 5), 
who  were  ably  assisted  by  the  greatest  engineers,  architects,  painters 
and  sculptors  of  the  age,  the  city  underwent  more  marked  improvements 
than  ever.  Lights  were  introduced  into  the  streets.  A  new  line  of  for¬ 
tifications  was  made.  New  dwelling  and  sojourning  quarters  were 
erected  on  every  side.  The  police  force  was  newly  organized  and  in¬ 
creased.  The  marsh-lands  to  the  north  were  drained  and  laid  out  in 
streets.  New  boulevards  and  quays  were  erected.  Triumphal  arches, 
as  of  St.  Martin  and  St.  Denis,  were  built.  Private  means  and  taste  vied 
with  municipal  liberality  in  the  work  of  improvement,  and  along  with 
such  public  creations  as  the  Hotel  Invalides,  the  Academy  of  France, 
the  observatory  and  the  Gobelins  factories,  arose  the  Luxembourg  built 
by  Mary  Medici,  the  Vale  of  Grace  by  Anne  of  Austria,  the  Royal  Palace 
by  Richelieu,  the  Institute  by  Mazarin.  Under  Louis  XII,  Paris  be¬ 
came  the  official  capital  of  the  kingdom.  Louis  XIV  opposed  the  res¬ 
idence  of  the  nobility  on  their  country  estates.  This  drew  to  Paris  the 
elite  of  the  empire,  and  from  this  time  on  it  became  not  only  the  most 
fashionable  city  of  the  world,  but  its  fortunes  and  history  were  indissol¬ 
ubly  linked  with  those  of  France  itself. 

Under  Louis  XV  and  XVI  (1715-74)  (1774-93),  the  French  court 
was  virtually  the  government  of  France.  The  king  was  despot.  Cor¬ 
ruption  reigned  everywhere.  Civic  pride  ceased  to  exist.  The  people 
were  taxed  to  poverty.  Nothing  flourished  except  literature,  and  that 


52 


THE  PARIS  EXPOSITION. 


of  the  bold  critical  kind,  which  flowed  as  a  warning  from  the  pens  of 
Voltaire,  Rousseau,  Montesquieu  and  Diderot.  The  nation  was  bank¬ 
rupt.  Revolution  was  inevitable.  It  came  in  1790,  in  the  shape  of  the 
Reign  of  Terror,  whose  worst  crimes  were  committed  in  Paris,  and 
whose  excesses  eliminated  all  thought  of  municipal  progress,  except  that 
which  transformed  royal  residences  to  new  uses.  With  the  expulsion 
of  the  Bourbons,  and  the  end  of  the  Reign  of  Terror  came  the  first  em¬ 
pire  under  Napoleon  (1799-1815).  Then  came  the  most  brilliant  pe¬ 
riod  of  French  history.  Paris  shared  the  glory.  The  Bourse  arose,  the 
Arch  of  Triumph  and  the  Vendome  Column.  The  Tuileries  and  Louvre 
were  further  extended,  the  foundations  of  the  Madeleine  were  laid. 

With  the  restoration  of  the  Bourbons  (Louis  XVIII,  1814-24; 
Charles  X,  1824-30),  discontent  and  threatened  revolution  filled  the  air. 
They  were  again  expelled  by  the  revolution  of  1830,  when  Louis  Phil¬ 
ippe  became  king  (1830-48).  Despite  the  fact  that  he  could  not  control 
the  spirit  of  the  revolution,  and  was  forced  to  flee  by  the  outbreak  of 
1848,  he  contributed  much  to  the  improvement  of  Paris.  Hospitals, 
schools  and  prisons  were  founded.  The  July  Column  rose  on  the  ruins 
of  the  Bastile.  The  lighting  of  the  streets  by  gas  was  introduced. 

But  it  was  under  the  second  empire  (Napoleon  III,  1852-70)  that 
Paris  witnessed  her  most  magnificent  architectural  revival  and  was  most 
completely  metamorphosed  in  her  ensemble.  Under  the  engineering 
of  the  celebrated  Baron  Haussmann  the  narrow  thoroughfares  were 
converted  into  broad,  well-paved  and  beautifully  built-up  streets  at  the 
expense  of  many  antiquated  and  picturesque  landmarks.  The  first 
great  central  railway  stations  were  built.  Public  promenades,  squares 
and  parks  were  laid  out  and  beautified,  adding  much  to  the  health  and 
gaiety  of  the  most  populous  sections  of  the  capital.  Numbers  of  impos¬ 
ing  public  and  private  structures  were  completed  in  construction,  re¬ 
stored,  extended,  or  had  new  foundations  laid,  among  which  were  the 


THE  FAIRIE  CITY. 


53 


Palace  of  Justice,  the  City  Hotel,  the  Grand  Opera  House  and  other  new 
theatres. 

Nor  did  the  impulse  of  this  era  end  with  the  German  occupation  of 
Paris  in  1870.  On  the  contrary,  it  continued  under  the  new  Republic, 
and,  at  times,  was  so  rapid  and  radical  as  that  transformation  seemed  al¬ 
most  like  enchantment.  Thus  had  Paris  come  to  be  the  Fairie  City  of 
the  world,  the  one  topping  all  others  in  her  magnificence  of  architecture, 
wealth  of  art,  beauty  and  convenience  of  boulevard,  esplanade  and  park, 
historic  structures,  places  of  amusement,  gaiety  and  hospitality  of  her 
2,500,000  people.  As  to  other  cities,  it  is  in  itself  an  all-world  exposi¬ 
tion,  as  much  to  be  visited,  and  seen,  and  studied,  and  enjoyed,  as  the 
International  Exposition  going  on  in  1900  within  its  gates.  In  fact  the 
exposition  can  best  be  seen  and  appreciated  by  first  knowing  the  mag¬ 
nificent,  cosmopolitan  Paris,  for  as  to  its  site,  its  plans,  its  approaches,  its 
environments  and  general  ensemble,  and  its  historic  attractions,  the 
Exposition  is  really  an  integral  part  of  the  city  itself. 

What  so  delightful  and  instructive,  then,  to  the  intelligent  visitor  as 
to  view  and  understand  the  city  before  entering  the  gates  of  the  Expo¬ 
sition  !  The  point  of  location  is  on  the  Seine,  no  miles  from  the  river’s 
mouth,  at  Havre.  The  river  itself  is  an  attraction,  with  its  magnificent 
quays,  its  400  to  600  feet  of  width,  and  its  adaptation  to  light-draft  boats. 
Its  general  course  is  northwest,  but  after  entering  the  city  on  the  south¬ 
east  at  the  National  bridge,  it  sweeps  westerly  and  southwesterly  through 
the  city,  passing  out  at  the  bridge  of  St.  John,  after  which  it  makes  a 
majestic  curve  to  the  north  around  the  Bois  de  Boulogne  (Woods  of 
Boulogne),  resuming  again  its  general  northwesterly  direction.  In  its 
passage  through  the  city  its  south  bank  and  left  bank  are  synonomous, 
as  also  its  north  bank  and  right  bank. 

The  river  is  lined  throughout  the  city  with  quays  or  ports,  some 
of  very  ancient  and  all  of  expensive  structure,  which  offer  a  picturesque 


54 


THE  PARIS  EXPOSITION. 


spectacle  to  the  traveler,  so  animated  are  they  with  workmen  and  men 
of  different  occupations,  and  so  variegated  with  shops,  stores,  saloons, 
etc.,  devoted  to  different  classes  of  business  and  infinitely  multiplied 
tastes.  Many  of  them  epitomize  in  their  names  some  of  the  most  inter  ¬ 
esting  history  of  the  city.  For  instance,  after  the  river  enters  the  city 
on  the  southeast,  and  passes  important  quays  on  either  side,  there  ap¬ 
pears  on  the  right,  or  northeast,  side  the  quay  of  Rapee,  which  perpetu¬ 
ates  the  name  of  the  architect  and  builder  of  a  country  house  erected  on 
the  spot  under  Louis  XV.  Opposite,  on  the  left  bank,  is  the  quay  of 
Austerlitz,  an  highly  suggestive  historic  name.  The  next  quay  to  Aus- 
terlitz,  on  the  same  side,  is  that  of  St.  Bernard.  It  owes  its  name  to  a 
Bernardine  convent  which  once  stood  near  it,  and  is  interesting  as  the 
landing  place  of  wines  on  their  way  to  the  Hall  of  Wines,  and  for  its 
contiguity  to  the  beautiful  Garden  of  Plants,  which  is  not  only  the 
Botanical  but  the  Zoological  garden  of  Paris. 

At  the  end  of  quay  St.  Bernard  the  river  is  divided  by  the  island  of 
St.  Louis.  On  the  right  of  the  northern  arm  are  the  quays  of  the  Ce- 
lestins  and  of  the  City  Hotel,  the  former  named  from  a  convent  of  the 
Celestins  whose  walls  once  skirted  it,  the  latter  being  formerly  known  as 
the  quay  of  Elms.  It  is  the  calf-market  of  the  city.  On  the  left  of  the 
northern  arm,  is  the  quay  of  Bourbon,  whose  ancient  houses  have  been 
converted  into  wine  stores,  and  the  quay  of  Anjou,  named  after  the  Duke 
of  Anjou.  It  was  once  lined  with  seignorial  mansions,  which  are  now 
mainly  occupied  by  small  manfacturers.  On  the  southern,  or  main  arm, 
are  the  historic  quays  of  Bethune,  Orleans  and  Tournelle. 

Again  the  river  is  divided  by  the  island  of  Cite,  and  both  its  arms 
are  occupied  by  important  quays.  That  of  Megisseric  is  occupied  by  the 
Chatelet  Theatre,  and  by  iron  and  seed  merchants,  while  the  quay  of  Cite 
is  the  site  of  the  Tribunal  of  Commerce  and  the  Flower  Market  of  the 
city.  The  arms  of  the  river  now  come  together  again,  and  each  bank  is 


THE  FAIR1E  CITY. 


55 


lined  with  a  succession  of  beautiful  quays.  The  first  on  the  right,  or 
north,  side  is  the  quay  of  the  Louvre,  so  named  because  it  skirts  the  pal¬ 
ace  of  the  Louvre.  On  the  opposite,  or  left,  side,  is  the  quay  of  Conti, 
named  from  the  hotel  of  Conti.  It  skirts  the  Mint  and  the  Institute  of 
France.  Again,  on  the  right  side  is  the  quay  of  the  Tuileries,  named 
after  the  palace  and  gardens  near  by,  and  on  the  left  side  is  the  celebrated 
Quai  d’Orsay,  on  which  stands  the  palaces  of  the  Legion  of  Honor  and 
Parliament,  and  the  station  of  the  Orleans  railway.  It  ends  at  the 
bridge  of  Concord,  where  the  main  entrance  to  the  Exposition  is  located. 
Other  quays  of,  perhaps,  less  historic,  but  no  less  commercial  and  pic¬ 
turesque  merit,  continue  to  line  both  sides  of  the  river  until  it  makes  its 
exit  from  the  city  at  the  bridge  of  St.  John,  on  the  southwest  side. 

Another  picturesque  feature  of  the  Seine  and  the  city  itself,  is  the 
bridges.  No  less  than  thirty  of  these,  many  of  them  both  historic  and 
beautiful,  span  the  river  in  its  passage  through  the  city  limits.  The 
National  Bridge  crosses  the  river  where  it  enters  the  city  on  the  south¬ 
east.  It  has  six  handsome  arches,  and  was  built  in  1858.  It  was  first 
named  Napoleon  III.  Bridge,  but  its  name  was  afterwards  changed  in 
obedience  to  the  republican  spirit.  It  is  the  scene  of  an  annual  water 
tournament  in  which  boatmen  vie  with  each  other  in  aquatic  sports. 
Passing  down  the  river,  one  reaches  in  a  short  space  the  Tolbaic  Bridge, 
connecting  the  two  quarters  of  Gare  and  Bercy.  A  short  distance 
further  is  the  Bercy  Bridge,  of  five  elliptical  arches,  built  in  1864,  and 
chiefly  used  by  the  coopers,  whose  quarters  are  near,  for  the  transport 
of  wines  and  empty  casks.  The  Austerlitz  Bridge  comes  next.  It  was 
completed  in  1807  and  named  Austerlitz  in  memory  of  Napoleon’s 
victory  over  the  Russians  and  Austrians,  December  2,  1805.  On  its 
beautiful  architectural  ornaments  are  inscribed  the  names  of  the  prin¬ 
cipal  officers  killed  at  Austerlitz.  It  is  one  of  the  most  animated  bridges 


THE  PARIS  EXPOSITION. 


56 

in  the  city,  being  situated  between  the  Lyons  and  Orleans  railway  sta¬ 
tions,  close  to  the  Garden  of  Plants,  and  adjoining  the  Mazas  Park,  a 
picturesque  and  crowded  resort  of  the  populace,  where  acrobats  and 
jugglery  delight  the  audiences. 

Passing  other  bridges,  one  comes  to  the  Bridge  Marie,  connecting 
the  St.  Louis  island  with  the  City  Hotel.  It  is  named  from  the  archi¬ 
tect,  Christopher  Marie,  and  its  foundation  stone  was  laid  by  Louis 
XIII.  and  M^ie  de  Medici  in  1614.  It  was  originally  occupied  by 
fifty  houses.  The  Tournelle  Bridge  perpetuates  the  name  of  the  Castle 
Tournelle,  a  fourteenth  century  fortress  on  the  left  bank  of  the  Seine. 
The  Louis  Philippe  Bridge  was  built  in  1833-34  and  named  after  the 
then  reigning  King.  The  city  apple  fair  is  held  on  barges  moored 
below  this  bridge.  The  Arcole  Bridge,  joining  the  Quay  of  Flowers 
to  the  City  Hotel  square,  owes  its  name  to  an  incident.  During  the 
attack  on  the  City  Hotel,  July  28,  1830,  a  young  man,  rushing  from  a 
group  of  combatants  in  the  Cite,  fell  mortally  wounded  on  the  bridge, 
exclaiming,  “Remember  that  my  name  is  Arcole!” 

The  Notre  Dame  Bridge  ranks  as  the  oldest  historic  bridge  in 
Paris.  It  dates  from  the  fifteenth  century,  and  occupies  the  site  of  a 
Roman  bridge  which  led  to  the  numerous  highways  on  the  right  bank 
of  the  Seine.  Another  ancient  bridge  is  the  Bridge  of  Change,  or  Ex¬ 
change.  Louis  VII.  established  an  Exchange  on  this  bridge,  which 
was  occupied  by  houses,  on  the  one  side,  for  money-changers,  and  on 
the  other  side  for  goldsmiths.  Later  it  became  the  scene  of  the  city 
bird-market.  The  modern  bridge,  of  three  beautiful  arches,  replaced 
the  old  structure  in  i860.  The  Little  Bridge  has  a  history  running  back 
to  the  Roman  occupation,  and  was  the  first  by  means  of  which  the  in¬ 
habitants  of  ancient  Lutetia  communicated  with  the  left  bank  of  the 
Seine.  The  Saint  Michel  Bridge  dates  from  the  fourteenth  century, 


THE  FAIRIE  CITY, 


57 


but  has  been  rebuilt  several  times.  The  Neuf  Bridge  is  a  picturesque 
and  imposing  feature  of  the  river,  and  has  played  a  conspicuous  part 
in  Parisian  history  and  politics.  Its  name,  “Neuf,”  puzzles  etymolo¬ 
gists.  It  was  built  in  1604,  but  has  been  rebuilt  many  times.  Its  most 
imposing  ornament  is  the  equestrian  statue  of  Henry  IV.,  cast  in  bronze 
from  several  statues  of  Napoleon,  and  set  up  in  1818.  The  eight  arch 
iron  Bridge  of  Arts  connects  the  Institute  of  Arts  with  the  Louvre,  and 
presents  from  its  middle  a  fine  view  down  the  Seine.  The  Bridge  Car¬ 
rousel  is  decorated  at  either  end  with  two  celebrated  statues  by  Petitet, 
the  two  on  the  left  bank  representing  the  Seine  and  the  City  of  Paris, 
the  two  on  the  right  bank  Abundance  and  Industry. 

The  Royal  Bridge  is  the  new  name  for  the  Tuileries  Bridge.  From 
its  southern  end  Louis  Philippe  was  fired  upon  in  November,  1831. 
Solferino  Bridge  commemorates  the  victory  of  the  French  over  the 
Austrians  at  the  battle  of  Solferino,  in  1859.  The  Bridge  of  Concord 
unites  the  Quay  Orsay  with  the  Place  of  Concord.  It  was  finished  in 
1790  with  stones  from  the  Bastile,  and  was  first  named  Bridge  of  the 
Revolution.  Its  original  name  was  restored  after  the  Revolution  of 
1830. 

The  next  bridge  is  the  one  built  in  connection  with  the  Paris  Ex¬ 
position  of  1900.  It  is  the  Alexander  III.  Bridge,  connecting  the 
Elysian  Gardens  with  the  Esplanade  of  Invalids.  It  commemorates  the 
late  Czar  of  Russia,  Alexander  III.,  whose  son  and  successor,  Nicholas 
II.,  laid  the  foundation  stone  on  October  7,  1896.  A  fuller  description 
of  it  will  be  found  in  connection  with  the  site  and  plan  of  the  Exposi¬ 
tion.  The  next  bridge  below  is  the  Bridge  of  Invalids,  connecting  the 
west  side  of  the  Esplanade  of  Invalids  with  the  Quay  Conference.  Its 
centrepiece  is  decorated  by  statues  representing  naval  and  military  vic¬ 
tories.  The  Alma  Bridge,  built  in  1855,  is  named  and  highly  sculptured 


5*  THE  PARTS  EXPOSITION. 

to  commemorate  the  Crimean  War.  The  Jena  Bridge  connects  the 
Camp  of  Mars  with  the  gardens  of  the  Trocadero.  It  was  completed  in 
1813,  and  named  to  commemorate  Napoleon’s  victory  over  the  Prus¬ 
sians,  at  Jena,  October  14,  1806.  Its  pedestals  at  either  end  are  richly 
ornamented  with  equestrian  groups  representing  a  Greek,  Roman, 
Gallic,  and  Arab  horseman.  Among  the  other  bridges  which  span  the 
Seine  as  it  passes  the  southwestern  section  of  the  city,  the  most  notable 
is  the  Auteuil  Bridge.  It  was  completed  in  1866,  and  is  a  double- 
decker,  built  on  forty-one  arches.  One  of  its  decks  accommodates  the 
Ceinture  railways.  Its  construction  is  regarded  as  a  wonderful  piece 
of  engineering  skill. 

No  city  in  the  world  is  so  enriched  by  spacious  and  beautifully  laid 
out  parks  and  gardens  as  Paris.  One  of  the  most  exquisite  of  these 
public  breathing  places  is  the  Garden  of  the  Tuileries,  bordering  on 
the  Tuileries  quay,  to  the  south;  on  Tuileries  street,  to  the  east;  on 
Rivoli  street,  to  the  north;  and  on  Concord  Place,  to  the  west.  It  con¬ 
tains  about  seventy  acres,  in  the  very  heart  of  the  city,  and  forms  a 
quadrilateral  space  divided  into  regular  squares.  The  ancient  part  of 
the  garden  was  laid  out  1665;  the  modern  part  was  laid  out  after  the 
destruction  of  the  Tuileries  Palace,  in  1871,  and  occupies  its  site.  The 
garden  is  ornamented  with  rare  flowers  and  shrubs,  fine  old  trees,  and 
numerous  sculptures,  such  as  Couston’s  “Atalanta,”  Lepautre’s  “Hip- 
pomenes,”  and  Theadon’s  “Apollo”  and  “Daphne.”  Central  in  the 
garden  is  a  fine  lake,  bordered  by  terraces.  The  garden  is  the  great 
playground  of  the  children  inhabiting  the  heart  of  Paris,  and  military 
bands  discourse  music  there  three  afternoons  in  a  week. 

The  Luxembourg  Garden  is  not  so  large  as  the  Tuileries,  but  with 
its  fine  groves  and  walks  bordered  by  ancient  trees,  its  parterres,  foun¬ 
tains,  and  statues,  all  harmonizing  with  the  stately  Palace  in  the  centre, 


GARDEN  OF  THE  TUILERIES. 


THE  FAERIE  CITY. 


61 


it  is  one  of  the  most  charming  pleasure  grounds  of  Paris.  Its  situation 
in  a  sober,  old-fashioned  quarter  of  the  city,  with  entrances  from  the 
four  streets  which  bound  it,  makes  it  the  pleasure  spot  of  the  well-to-do 
classes  who  inhabit  the  section,  and  of  the  students  from  the  contiguous 
Latin  Quarter.  In  the  open  space  facing  the  Palace  is  a  large  octagonal 
fountain,  and  around  are  various  famous  statues,  such  as  Lemair’s 
“Diana;”  Briden’s  “Vulcan,”  and  Vilain’s  “Marius  on  the  Ruins  of 
Carthage.”  Flanking  this  parterre  are  terraces  with  balustrades 
adorned  by  twenty  statues  of  famous  French  women.  Equally  numer¬ 
ous  and  imposing  statues  adorn  the  respective  sides  of  the  gardens.  A 
most  interesting  historic  ornament  is  the  Medici  Fountain  with  its  rect¬ 
angular  basin,  erected  for  Marie  de  Medici,  in  1620.  The  garden  con¬ 
tains  sixteen  hot-houses,  in  which  more  than  25,000  different  plants  are 
cared  for. 

The  Palais  Royal  garden  is  by  no  means  large,  but  very  beautiful 
and  full  of  history.  It  is  enclosed  between  the  arcades  in  the  rear  of 
the  Palais  Royal,  and  was  once  the  most  fashionable  rendezvous  in 
Paris.  Here  the  Orleans  regent  and  his  companions  held  their  fetes, 
and  the  members  of  the  revolutionary  Directory  of  1830  their  orgies. 
The  garden  is  beautifully  laid  out  and  planted,  and  is  ornamented  with 
numerous  pieces  of  magnificent  statuary. 

The  Jardin  des  Plantes — Garden  of  Plants — is  situated  on  the 
south  side  of  the  Seine  near  where  it  is  crossed  by  the  Austerlitz  Bridge. 
It  is  larger  in  area  than  the  Tuileries  garden,  and  was  designed  by  Guy 
de  Labrosse,  a  distinguished  French  botanist,  in  1635.  It  was  at  first 
simply  a  garden  of  medicinal  herbs,  but  the  naturalist,  Buffon,  gave  it 
its  present  wide  scope  in  1732,  making  it  the  repository  of  all  so**ts  of 
collections.  In  1793,  it  was  further  enlarged  by  the  addition  <  he 
royal  managerie  from  Versailles,  and  by  the  inauguration  of  the  ,m- 


THE  PARIS  EXPOSITION. 


6* 

portant  library.  It  is  a  little  world  containing  all  that  is  necessary  for 
the  study  of  natural  history;  living  plants  and  animals,  museums,  col¬ 
lections,  laboratories,  libraries,  an  amphitheatre  capable  of  seating  a 
thousand  persons  where  savants  deliver  free  lectures.  Its  seventy-five 
acres  are  divided  into  two  nearly  equal  parts  by  a  central  walk,  the 
one  part  being  chiefly  devoted  to  botany,  the  other  to  zoology.  The 
grounds  are  handsomely  laid  out  and  luxuriantly  planted.  Galleries, 
ranged  at  intervals  around  the  garden,  contain  the  fullest  and  richest  of 
collections.  The  numerous  nurseries  contain  13,000  varieties  of  plants. 
The  library  contains  140,000  volumes. 

One  of  the  daintiest  open  spaces  of  Paris  is  Monceau  Park.  It 
was  laid  out  in  1778  by  Philippe  of  Orleans,  and  was  the  scene  of  the 
fetes  of  the  ancient  regime.  After  the  Revolution  it  became  the  favorite 
park  of  Louis  Philippe.  It  came  into  possession  of  the  city  in  1852, 
and  was  soon  surrounded  by  houses  of  artists.  Society  followed  in 
the  train  of  the  artists,  and  the  park  is  now  one  of  the  most  fashionable 
quarters  of  Paris.  Its  gardens  are  rich  in  bronze  and  marble  sculptures, 
and  in  fine  collections  of  trees  and  exotic  plants. 

The  Trocadero  Park,  on  the  north  side  of  the  Seine,  where  it  is 
crossed  by  the  Jena  Bridge,  dates  its  beauty  and  importance  from  the 
Paris  Exposition  of  1878.  Its  magnificent  Palace  and  grounds  are  a 
legacy  of  that  event,  and  the  grounds  have  been  again  dedicated  to 
the  uses  of  the  Exposition  of  1900,  being  the  scene  of  the  ingathering 
and  displays  of  the  colonies  of  colonizing  nations.  After  the  palace, 
interesting  features  of  the  park  are  the  great  aquarium,  the  noble  ter¬ 
races,  and  the  cascade. 

One  of  the  modern,  yet  most  interesting  parks  of  Paris,  is  that  of 
the  Buttes  Chaumont.  It  contains  about  fifty-five  acres  and  is  located 
in  the  northeast  part  of  the  city  on  the  Belleville  hill,  in  the  heart  of 


THE  FAIRIE  CITY. 


63 


the  most  thickly  populated  industrial  quarters.  Till  the  end  of  the 
Second  Empire  the  grounds  it  occupies  were  a  waste  of  stone-quarries, 
haunted  at  night  by  homeless  wretches  of  the  lower  class.  It  was  a 
source  of  public  danger  and  a  serious  obstacle  to  communication  be¬ 
tween  contiguous  districts.  The  problem  of  its  removal  was  solved  by 
laying  it  out  as  a  public  park.  The  work  was  most  difficult  and  gave 
employment  for  years  to  thousands  of  laborers.  But  the  transforma¬ 
tion  became  complete  by  1867,  in  which  year  it  was  opened  simulta¬ 
neously  with  the  Universal  Exposition.  The  scarred  and  unsightly 
areas  were  handed  over  to  the  public  in  the  shape  of  green  lawns  and 
slopes,  shady  walks,  lakes  and  streams  and  a  profusion  of  artificial 
creations  of  great  beauty  and  merit.  Its  lake  and  waterfall,  the  rocky 
cliffs  of  the  island,  surmounted  by  a  little  temple,  reproducing  that  of 
the  Sybil  at  Tivoli,  and  the  various  restaurants  and  pavilions,  add  to 
the  picturesque  beauty  of  the  landscape.  The  sculptures,  which  are 
numerous,  are  nearly  all  of  a  picturesque  and  romantic  character  suit¬ 
able  to  the  surroundings.  The  most  notable  are  Oge’s  “Pirate;” 
Rolard’s  “Saved!”;  Lefevre’s  “The  Ford;”  Hiolin’s  “Wolf,”  and  Des- 
ca’s  fine  group,  “The  Stormer  of  the  Eyrie.” 

Montsouris  Park  contains  about  forty  acres,  and  is  situated  at  the 
end  of  Montsouris  avenue  in  the  extreme  southern  part  of  the  city. 
It  is  one  of  the  prettiest  and  most  cheerful  pleasure-grounds  of  Paris, 
and  more  like  a  private  property  than  a  public  park.  It  contains  a  lake 
of  several  acres  in  extent,  peopled  by  a  colony  of  wild  water-fowl, 
which  breed  in  perfect  security  in  the  midst  of  an  island.  This  lake, 
surrounded  by  poplars  and  willows,  is  overlooked  by  an  immense 
lawn,  the  gathering-ground  of  the  aristocracy  of  the  neighborhood. 
The  statues  and  groups  are  numerous,  but  not  of  great  historic  interest. 


64 


THE  PARIS  EXPOSITION. 


It  is  the  seat  of  the  meteorological  observatory,  a  building  of  Moorish 
architecture,  reproducing  the  palace  of  the  Bey  of  Tunis. 

The  Champs  de  Mars  (Camp  of  Mars  or  March  Camp)  is  a  large, 
oblong  park  or  public  square,  lying  to  the  south  of  the  Seine,  and  be¬ 
tween  it  and  the  Military  School.  The  Jena  Bridge  connects  it  with 
the  park  or  gardens  of  the  Trocadero.  It  is  some  3,279  feet  long  by 
1,61 1  feet  wide.  It  was  originally  a  sandy  field  devoted  to  military 
maneuvering,  but  was  gradually  converted  into  a  system  of  beautiful 
gardens,  still,  however,  retaining  spaces  for  drills  and  public  meetings. 
Its  name  has  a  double  reference  to  the  Campus  Martius  of  ancient 
Rome  and  other  Italian  cities,  and  to  the  old  Frankish  field-meetings, 
for  legislative  and  other  purposes,  held  annually  in  March  or  May, 
and  historically  known  as  Champs  de  Mars  or  de  Mai.  Furnishing  as 
it  did  a  large  open  space  for  great  gatherings,  it  became  the  scene  of 
many  important  events  during  the  first  revolution,  among  them  the 
celebration  of  the  capture  of  the  Bastile  and  the  festival  of  the  Supreme 
Being.  It  also  furnished  the  main  sites  for  the  International  Exposi¬ 
tions  of  1867,  1878  and  1889.  And  so,  two-thirds  of  its  area  was  given 
up  to  the  Exposition  of  1900.  The  celebrated  Eiffel  Tower  occupies 
a  central  place  in  the  end  of  the  park  next  to  the  river. 

The  Champs  Elysees  (Elysian  Fields)  are  a  series  of  gardens  to 
the  west  of  Concord  Place,  and  extending  from  the  Seine  northward 
beyond  the  magnificent  Champs  Elysees  Avenue.  They  are  elaborately 
laid  out  and  beautifully  planted,  and  are  the  most  frequented  gardens 
of  Paris.  Here  was  the  site  of  the  Industrial  Palace  which  constituted 
a  prominent  feature  of  the  Exposition  of  1889.  It  was  removed  to 
make  space  for  the  two  gorgeous  Palaces  of  Fine  Arts  which  form 
chief  attractions  of  the  Exposition  of  1900.  The  gardens  are  also  the 
scene  of  Horticultural  sections  of  this  last  Exposition.  They  have 


GENERAL,  VIEW  OF  THE  PARIS  EXPOSITION,  1900. 


THE  FAIRIE  CITY. 


6? 

been  bisected  by  the  new  Avenue  Nicholas  II.,  running  from  the 
Avenue  Champs  Elysees  to  the  new  monumental  Bridge  Alexander 
III.,  the  most  striking  of  all  the  Seine  bridges. 

Outside  the  walls  of  Paris  are  its  two  great  parks  the  Bois  de 
Boulogne  (Boulogne  Woods)  and  Bois  de  Vincennes  (Vincennes 
Woods).  The  former  lies  'westward  of  the  city  in  the  splendid  sweep 
made  by  the  Seine  as  it  resumes  its  northwest  course.  It  contains 
about  2,000  acres,  and  with  its  profusion  of  grass,  trees,  lakes,  drives, 
rides,  footpaths  and  monuments  is  a  most  charming  spot  to  visit.  Its 
most  popular  entrance  is  the  grand  Avenue  Bois  de  Boulogne,  which 
branches  from  the  Avenue  Champs  Elysees  at  the  Rond  Point  (Circle), 
in  which  stands  the  Arch  of  Triumph,  and  leads  directly  to  the  Dau- 
phine  gate.  This  splendid  avenue  is  a  little  park  in  itself,  being  bord¬ 
ered  by  lawns  and  trees  and  handsome  houses,  and  studded  with  his¬ 
toric  monuments.  The  fashionable  drive  of  the  park  is  the  Longchamp 
avenue  where  in  summer  may  be  seen  all  the  Parisian  world.  At  the 
end  of  this  avenue  is  the  famous  Longchamp  race  course  where  the 
Grand  Prize  is  run  for,  and  where  the  grand  annual  military  review 
takes  place.  A  fashionable  skating  rink  is  open  in  the  park  during 
the  winter.  Two  beautiful  lakes  grace  the  recesses  of  the  park.  The 
Bois  de  Boulogne  is  all  that  remains  of  the  ancient  forest  of  Rouvray 
which  stretched  over  plain  and  hill  on  the  right  bank  of  the  Seine  as  far 
as  St.  Ouen.  It  is  full  of  historical  memories,  being  the  site  of  famous 
chateaus  and  abbeys  dating  back  for  two  or  three  centuries.  It  is  also 
the  site  of  the  famous  Garden  of  Acclimatation,  established  for  the  re¬ 
production  of  useful  and  agreeable  animal  and  vegetable  species.  It  pos¬ 
sesses  the  finest  zoological  collections  in  Paris,  arranged  in  the  most 
effective  manner  for  show,  study  and  propagation. 


4 


68 


THE  PARIS  EXPOSITION. 


The  second  of  the  two  great  parks  of  Paris  is  the  Bois  de  Vin¬ 
cennes  (Vincennes  Woods).  It  lies  to  the  southeast  of  the  city,  and 
to  the  north  of  the  Seine,  and  is  accessible  by  streets,  railways  and 
steamboats.  It  has  the  cheerful  aspect  of  a  provincial  garrison  town, 
and  owes  its  importance  to  its  fine  race-course,  to  the  historic  mem- 
eries  that  cling  around  its  Donjon  and  Castle,  and  to  the  magnificent 
woods  surrounding  lake  Daumesnil,  part  of  which  was  set  apart  as  an 
annex  to  the  Exposition  of  1900.  The  Castle  was  erected  in  the  twelfth 
century  and  was  used  as  a  royal  residence  until  1740,  when  it  became 
a  state  prison.  Its  Donjon  is  the  main  relic  of  the  old  Castle,  and 
dark  cells  and  the  torture  chamber  tell  many  sad  tales  of  punishment 
and  misery.  Cardinal  Retz,  author  of  the  famous  Memoirs,  was  shut 
up  here  in  1652,  after  his  struggle  with  the  great  Conde.  Mirabeau 
was  confined  here.  In  1848  and  1871,  under  the  Paris  Commune,  the 
Donjon  was  full  of  prisoners.  The  extensive  forests  of  Vincennes  were 
a  favorite  hunting  ground  of  the  Capetian  kings.  Larger  than  the 
Bois  de  Boulogne  and  nearly  as  beautiful,  its  visitors  only  rival  those 
of  the  latter  in  numbers  on  Sundays  and  holidays,  when  it  is  invaded 
by  the  working  classes.  In  the  centre  of  the  park  is  a  large  field  for 
military  maneuvres,  also  the  race-course. 

A  very  agreeable  feature  of  Paris,  and  one  which  conduces  greatly 
to  the  comfort  of  the  resident  and  the  enjoyment  of  the  visitor,  is 
found  in  the  numerous  and  still  increasing  avenues,  generally  planted 
with  trees  and  forming  the  various  series  of  Boulevards,  Avenues  and 
Streets.  The  Boulevards  (Grands  Boulevards)  are  those  avenues  or 
streets  which  mark  what  were  the  ancient  boundaries  of  Paris.  The 
name  Boulevard,  or  bulwarks,  indicates  that  they  are  built  on  the  site 
of  the  old  wall  and  its  surrounding  ditch.  They  are,  therefore,  in  the 
form  of  bows,  or  circles.  The  Grand  Boulevards  are  the  favorite 


THE  FAIRIE  CITY. 


69 


lounges  of  the  Parisians,  for  they  are  lined  with  the  most  brilliant 
stores,  sumptuous  cafes  and  tempting  restaurants  in  Paris.  As  the 
quays  form  the  favorite  lounging  places  of  the  idlers  of  the  lower 
classes,  so  the  Grand  Boulevards  are  the  haunt  of  the  lounger  of  the 
higher  class,  the  locality  where  he  feels  himself  most  at  home,  and 
which  he  looks  upon  as  the  pride  and  boast  of  Paris.  The  more  modern 
Boulevards  vie  with  the  Avenues  in  point  of  beauty  and  residential 
attractiveness.  Their  names  generally  perpetuate  some  historic  inci¬ 
dent  or  characteristic  of  person  or  place,  as  the  Boulevard  Madeleine, 
Capucines  Boulevard,  Boulevard  Italiens,  Boulevard  St.  Denis,  Boule¬ 
vard  Henri  Quartre  (Henry  IV).  The  long  Boulevard  St.  Germain 
was  the  first  southward  of  the  Seine  which  was  begun  in  1854,  and 
which  owe  their  existence  to  the  energy  of  Napoleon  III.,  and  his 
indefatigable  Prefect  of  the  Seine,  Baron  Hausmann. 

The  Boulevards  of  Paris  are  very  numerous,  and,  with  the  stately 
avenues  which  resemble  them  in  handsome  proportions  and  in  being 
tree-planted,  have  quite  transformed  Paris.  The  Avenues  also  per¬ 
petuate  in  their  names  incidents  of  history,  character,  place  or  topog¬ 
raphy,  as  Avenue  Bois  de  Boulogne  (Bologne  Wood),  Avenue  Mac- 
Mahon,  Avenue  Wagram,  Avenue  Victor  Hugo.  Of  all  Parisian 
Avenues,  that  of  the  Champs  Elysees  is  reckoned  the  handsomest,  with 
its  magnificent  hotels  and  other  gorgeous  buildings,  leading  to  the 
Place  of  Concord.  From  its  Rond  Point  (Circle),  where  stands  the 
Arch  of  Triumph,  there  radiate  no  less  than  twelve  beautiful  avenues, 
like  the  spokes  of  a  wheel.  For  this  reason  the  Rond  Point  is  also 
called  TEtoile,  or  Star.  The  Boulevard  and  Avenue  systems  of  Paris 
are  supplemented  by  the  ordinary  street  system  under  the  designation 
of  Rue;  as  Rue  de  Rivoli  (Rivoli  Street),  Rue  Theatre,  etc.  Many  of 
these  are  as  spacious  and  attractive  as  the  boulevards  and  avenues. 


7o 


THE-PARIS  EXPOSITION. 


The  streets,  squares,  gardens  and  parks  of  Paris  are  embellished, 
as  those  of  no  other  city,  with  many  groups  of  statuary  by  noted  sculp¬ 
tors  and  with  numerous  monuments.  The  most  remarkable  monu¬ 
ment  is  the  Arch  of  Triumph  which  stands  in  the  Rond  Point  (Circle), 
or  Place  de  l’Etoile  (Place  of  the  Star),  of  the  Avenue  Champs  Elysees. 
It  was  begun  in  1806  by  Napoleon  I.,  and  completed  in  1836  by  Louis 
Philippe.  Though  directed  by  eight  different  architects,  the  unity  of 
the  work  is  perfect.  It  is  the  largest  monument  of  its  kind  in  existence, 
being  some  160  feet  high,  with  breadths  of  140  and  70  feet  respectively. 
Its  numerous  and  elegant  bas-reliefs,  inscriptions  and  trophies,  record 
the  triumph  of  the  Napoleonic  ascendancy,  and  constitute  an  imposing 
monument  to  national  glory.  The  names  of  one  hundred  battles  and 
of  four  hundred  generals  of  the  Empire  are  inscribed  on  the  under  side 
of  its  arch.  The  uprights  on  either  side  of  the  arch  are  decorated  with 
colossal  high  reliefs  of  “Resistance”  and  “Peace,”  by  Etex,  “Triumph,” 
by  Cortot,  and  the  “Departure,”  by  Rude.  Its  two  principal  faqades 
are  turned,  the  one  towards  the  Champs  Elysees,  the  other  towards 
Passy.  A  staircase  of  260  steps  leads  to  its  top,  from  which  a  fine  view 
of  Paris  is  had. 

Another  Arch  of  Triumph  stands  in  the  Place  du  Carrousel  (Car¬ 
rousel  Place),  and  is  called  Arch  of  the  Carrousel.  Carrousel  Place 
was  formerly  a  garden,  which  Louis  XIV  transformed  into  a  public 
place  when  he  planned  the  completion  of  the  Tuileries.  The  Place  took 
its  name  from  the  great  public  festival  or  Carrousel  held  there  in  1662. 
In  the  Place  stood  the  Carrousel  Palace,  which  was  destroyed  by  the 
Communists  in  1871.  The  Triumphal  Arch  forms  the  eastern  entrance 
to  the  gardens  laid  out  in  1889  on  the  site  of  the  Palace.  It  was  con¬ 
structed  in  1806  by  order  of  Napoleon  I.,  to  celebrate  the  campaign  of 
1805,  and  in  design  is  a  reproduction  of  the  triumphal  arch  of  Septimus 


OPENING  DAY  AT  THE  EXPOSITION. 


THEFAIRIE  CITY. 


73 


Severus  in  the  Roman  Forum.  The  pediment  is  surmounted  by  a 
quadriga  or  triumphal  car  bearing  a  female  figure  symbolic  of  the 
Restoration.  Six  bas-reliefs  commemorate  the  events  of  1805.  Eight 
statues  above  the  entablature  are  figures  of  soldiers  representing  the 
various  branches  of  military  service.  Facing  the  Carrousel  Arch  is 
the  Monument  to  Gambetta.  It  was  erected  by  the  government  in 
1888.  On  its  western  side  it  represents  Gambetta  addressing  the 
people  and  urging  them  to  defend  their  fatherland. 

The  Place  Vendome  is  named  from  Cesar  of  Vendome,  son  of 
Henry  IV,  who  built  a  house  on  the  site.  Louis  XIV  demolished  this 
house  and  converted  the  grounds  into  a  Place.  Its  centre  was  adorned 
with  a  statue  of  the  king,  which  was  overthrown  and  melted  down  at 
the  outbreak  of  the  Revolution.  Its  pedestal  remained  intact.  Upon 
it  Napoleon  erected  the  present  Vendome  Column  in  honor  of  the 
compaign  of  1805.  The  granite  centre  of  the  shaft  is  overlaid  with 
plates  of  gilded  bronze  cast  frbm  the  cannon  taken  from  the  enemy 
and,  in  imitation  of  Trajan’s  column  at  Rome,  covered  with  bas-reliefs, 
ascending  in  a  spiral  to  the  top,  where  a  statue  of  the  emperor  crowns 
this  record  of  the  exploits  of  himself  and  army.  The  incidents  thus 
illustrated  begin  with  the  raising  of  the  camp  at  Boulogne,  and  end  with 
the  battle  of  Austerlitz.  Many  of  the  figures  are  portraits.  The 
column  was  overthrown  by  the  Communists  in  1871,  but  was  restored 
in  1874.  It  stands  143  feet  high,  and  can  be  ascended  within  by  means 
of  a  spiral  staircase. 

The  Place  de  la  Bastille  (Bastile  Place)  occupies  part  of  the  site  of 
the  Bastille  and  its  moats.  The  Bastille  was  destroyed,  July  14,  1789. 
In  the  centre  of  the  Place  rises  the  famous  Colonne  de  Juillet  (Column 
of  July).  It  is  a  bronze  pillar,  154  feet  in  height,  and  commemorates 
the  uprising  of  1830,  by  which  the  Bourbon  dynasty  was  overthrown, 


74 


THE  PARIS  EXPOSITION. 


and  Charles  X.  forced  to  abdicate.  It  bears  the  names  of  those  who  fell 
during  the  “glorious  three  days”  of  July  27,  28,  29,  and  the  inscription 
“To  the  glory  of  those  French  citizens  who  armed  themselves  and 
fought  in  defence  of  public  liberty  on  the  memorable  days  of  July  27, 
28,  29,  1830.”  It  can  be  ascended  within  by  205  steps.  Its  top  is 
crowned  by  a  lantern  which  supports  a  gilded  figure  of  the  Genius  of 
Liberty,  holding  in  one  hand  broken  chains  and  in  the  other  the  torch 
of  civilization.  A  magnificent  bronze  lion,  by  Barye,  is  a  conspicuous 
ornament  on  the  pedestal.  The  Gallic  cock  at  each  corner  is  also  by 
Barye.  Survivors  of  the  conflict  of  July,  1830,  continue  to  make  annual 
pilgrimages  to  the  Place  and  Column.  It  is,  perhaps,  one  of  the  spots 

in  all  Paris  where  the  sentiment  of  the  popular  quarters  may  best  be 

> 

studied,  for  it  is  the  rallying  ground  of  those  who  delight  in  fomenting 
revolutions. 

In  the  centre  of  the  Place  de  la  Concorde  (Concord  Place),  and  on 
the  spot  occupied  by  the  guillotine  used  during  the  Revolution,  stands 
the  obelisk  of  Luxor.  It  is  a  monolith  75  feet  high,  and  covered  over 
with  Egyptian  hieroglyphics.  It  was  presented  to  the  city  by  Mehemet 
Ali,  arrived  in  France  in  1833,  and  was  set  UP 'm  I^35-  On  the  pedestal 
are  two  diagrams  showing  the  methods  employed  by  the  engineers  to 

r 

bring  it  from  Egypt  to  France.  The  two  fountains  north  and  south  of 
the  obelisk  are  copied  from  those  of  St.  Peter’s  in  Rome. 

The  Paris  Commercial  Bourse  was  founded  in  1805  and  installed 
in  the  building  formerly  known  as  the  Halle  aux  Bles  (Corn  Market). 
The  building  is  a  rotunda,  and  rising  from  a  fountain  attached  to  it  is  a 
fluted  column  of  great  historic  interest.  It  is  all  that  remains  of  the 
palace  built  on  the  site  by  Catherine  de  Medici,  and  known  in  later 
times  as  the  Soissons  Hotel.  The  column  is  said  to  have  be#n  used 
as  an  observatory  by  Catherine’s  astrologers. 


THE  FAIRIE  CITY. 


1 5 


What  was  once  the  Place  du  Trone  (Place  of  the  Throne)  is  now 
the  Place  of  Nations,  a  beautiful  spot  destined  to  be  the  radiating  point 
of  twelve  avenues,  like  the  Place  de  l’Etoile  (Place  of  the  Star).  In 
the  centre  of  this  Place  is  the  basin  of  a  fountain,  surmounted  by  a 
colossal  group,  “Triumph  of  the  Republic.”  A  figure  of  the  Republic 
stands  on  a  globe  resting  on  a  car  drawn  by  lions.  The  Genius  of 
Liberty,  seated  on  one  of  the  lions,  brandishes  a  torch.  Labor,  Justice 
and  Peace  accompany  the  car.  On  the  east,  on  two  pavilions,  are  two 
splendid  Doric  columns,  supporting  bronze  statues  of  Philip  Augustus 
and  St.  Louis. 

Many  magnificent  specimens  of  memorial  statuary  ornament  the 
public  squares  and  grounds  of  Paris.  Chief  among  these  are  statues  in 
memory  of  Charlemagne,  Joan  of  Arc,  Louis  XIV.,  Napoleon,  Danton, 
Gambetta,  Dante,  Shakespeare,  Beranger,  Voltaire,  Dumas.  And  so, 
fountains  of  artistic  design  serve  to  embellish  the  squares  and  gardens. 
Many  of  these  have  been  mentioned  or  described  in  connection  with 
the  places  where  they  stand.  Chief  among  the  others  are  the  Arbe 
Fountain,  erected  in  1776;  Fountain  Cuvier,  ornamented  with  groups 
of  animals,  and  a  figure  of  Natural  History;  Fountain  Gaillon,  with  its 
bronze  group  of  a  Triton  threatening  a  Dolphin;  Fountain  of  Inno¬ 
cents,  adjoining  the  Church  of  the  Holy  Innocents;  the  Fountain  of 
Victory  in  Chatelet  Place;  the  Colossal  Fountain  in  the  Champ  de 
Mars;  the  Cascade  Fountain  in  the  grounds  of  the  Trocadero. 

Paris  is  rich  in  palaces,  of  a  high  architectural  order,  impressive 
beauty  and  immense  cost.  The  Palace  of  the  Louvre,  on  the  north 
bank  of  the  Seine,  and  between  it  and  the  street  Rivoli,  is  the  most 
important  structure  in  Paris,  and  one  of  the  most  beautiful  palaces  in 
Europe,  equally  remarkable  for  the  harmony  of  its  lines  and  the  rich¬ 
ness  and  refinement  of  its  decorations.  It  was  originally  an  old  medie- 


1 6 


THE  PARIS  EXPOSITION. 


val  fortress  (1180-1223),  and  Francis  I.,  in  1541,  began  to  convert  it 
into  a  palace.  His  sen,  Henry  II.,  continued  the  work  under  different 
architects.  After  his  death,  Catharine  de  Medici  took  up  the  work, 
making  several  wing  extensions,  her  idea  being  to  connect  the  palace 
of  the  Louvre  with  that  of  the  Tuileries,  where  she  had  taken  up  her 
residence,  after  the  death  of  her  husband,  in  the  Hotel  of  Tournelles. 
Henry  IV.  continued  this  extension  along  the  Seine  to  the  Pavilion  of 
Flore  which  actually  formed  a  junction  between  the  Louvre  and 
Tuileries.  Louis  XIII.  added  the  right  wing  of  the  Pavilion.  Louis 
XIV.  employed  architects  to  complete  the  square  of  the  courtyard  and 
the  grand  colonnade  that  forms  the  main  front.  Napoleon  I.  began  the 
wing  along  the  Street  of  Rivoli.  It  was  finished  under  Napoleon  III. 
The  wing  built  by  Napoleon  I.  was  destroyed  by  the  Commune,  but 
was  restored  by  the  Republic. 

After  the  Revolution  of  1789,  the  Louvre  was  converted  into  a 
National  Museum,  open  to  the  public,  and  the  gems  from  the  royal 
collection  at  Versailles  were  deposited  there.  In  1815,  the  Medici 
series  of  masterpieces  and  other  works  were  brought  thither  from 
Luxembourg.  Under  Louis  Philippe,  the  Louvre  Museum  was  much 
neglected,  but  its  works  of  art  were  generously  added  to  under  both 
the  Second  Republic  and  Second  Empire.  In  its  interior  arrangement 
into  floors,  halls  and  galleries,  the  Louvre  is  admirably  fitted  for  art, 
and  other  displays.  In  110  museum  in  Europe  is  there  a  greater  variety 
of  objects  than  in  the  Louvre  Palace.  It  is  especially  rich  in  pictures. 
All  schools  of  art  are  represented.  The  Italian  and  Dutch  schools  are 
represented  almost  as  fully  as  at  home.  The  French  school  is,  of  course, 
most  completely  represented,  the  arrangement  of  masterpieces  being 
in  galleries  representing  the  art  of  the  respective  centuries,  or  periods. 
Many  of  the  halls  are  named  after  those  who  have  left  their  collections 


THE  FAIRIE  CITY. 


11 


as  a  legacy  to  the  Museum.  The  collections  of  engravings  and  sculp¬ 
tures  in  the  Louvre  are  interesting,  and  of  hardly  less  importance  than 
the  paintings.  Especially  is  this  so  of  ancient  sculptures.  Many  rooms 
are  devoted  to  the  most  perfect  masterpieces  of  Athens,  Ephesus,  Chios 
and  Samos,  the  superb  works  inspired  by  Phidias,  Myron  and  Poly- 
cletes,  and  the  sculptors  of  the  school  of  Argos.  Etruscan  and  Roman 
art  is  represented  in  several  rooms.  In  the  Hall  of  the  Venus  Milo 
stands  one  of  the  priceless  treasures  of  the  Louvre,  the  statue  of  the 
Venus  of  Milo,  for  which  an  offer  by  the  British  Government  of 
1,000,000  francs  has  been  refused.  Nor  are  the  halls  of  the  Louvre  any 
less  rich  in  sculptures  of  the  medieval,  renaissance  and  modern  periods, 
all  arranged  so  as  best  to  contrast  the  times  and  schools  of  the  masters. 
The  works  of  French  sculptors  of  the  17th,  18th  and  19th  centuries  are 
very  complete  and  highly  noted.  Halls  and  galleries  of  great  number 
and  extent  are  devoted  to  the  art  and  curios  of  Egypt,  Asia,  the  Isles  of 
the  Sea,  to  antiquities  of  extinct  nations,  to  furniture,  frescoes,  glass 
products,  ceramics,  water  colors,  pastels,  precious  stones.  All  in  all, 
a  visit  to  the  Louvre  constitutes  one  of  the  most  enjoyable  and  instruc¬ 
tive  features  of  world  entourage. 

The  Tuileries  Palace  has  been  spoken  of,  in  part,  in  connection 
with  its  magnificent  surroundings,  the  Garden  of  the  Tuileries.  The 
site  is  the  north  bank  of  the  Seine  between  the  Place  Carrousel  and 
Place  Concord.  The  Palace,  which  was  for  three  centuries  the  abode  of 
the  sovereigns  of  France,  stands  on  the  site  of  an  ancient  tile  (tuile) 
factory,  and  hence  its  name.  It  was  begun  by  order  of  Catherine  de 
Medici  in  1564,  continued  by  Henry  IV.,  and  completed  under  Louis 
XIV.  It  was  stormed  by  the  people  of  Paris,  August  10,  1792.  During 
the  first  Empire  it  was  the  residence  of  Napoleon  I.,  and  subsequently 
of  Louis  XVIII.,  Charles  X.,  and  Louis  Philippe.  In  1830,  it  was 


THE  PARIS  EXPOSITION. 


7* 

again  sacked  by  the  mob.  In  1848,  when  Louis  Philippe  was  driven 
from  the  throne,  the  mob  bivouacked  within  its  walls.  Napoleon  III. 
greatly  enlarged  the  Tuileries,  and  built  the  Floral  Pavilion.  During 
the  Communist  uprising  of  1871,  the  whole  central  pavilion  and  part 
of  the  wing  along  the  Street  Rivoli  wrere  burned.  The  wing  was  re¬ 
built  during  1875-76,  but  the  ruins  of  the  historic  central  part  were 
leveled,  and  the  site  became  a  part  of  the  beautiful  Tuileries  Gardens. 

The  Palace  Elysee  stands  on  the  Street  Faubourg,  north  of  the 
Avenue  Champs  Elysees,  and  fronting  on  an  extension  of  the  Gardens 
of  the  Champs  Elysees.  It  is  noteworthy  as  the  residence  of  M.  Loubet, 
the  present  President  of  the  French  Republic.  It  was  built  in  1718. 
Among  its  early  occupants  was  Madame  de  Pompadour,  from  whose 
heirs  it  was  bought  by  the  crown  as  a  residence  for  foreign  ambas¬ 
sadors.  Subsequent  distinguished  occupants  were  Murat,  Josephine, 
Marie  Louise,  Louis  Bonaparte,  Queen  Hortense,  M.  Thiers,  Mac- 
Mahon,  Jules  Grevy,  C.  Perier,  and  Felix  Faure.  Napoleon  retired 
thither  after  his  defeat  at  Waterloo,  and  he  signed  his  abdication  there. 
It  was  Louis  Napoleon’s  official  residence  when  he  was  president  of 
the  second  Republic,  and  there  he  prepared  his  coup  d’etat  of  1851. 
The  Palace  contains  many  magnificent  reception  rooms,  and  some 
valuable  tapestries,  among  which  is  the  “Judgment  of  Paris,”  one  of 
the  great  achievements  of  the  Gobelin  manufactories. 

The  Palais  Royal,  one  of  the  most  popular  of  Parisian  Palaces, 
stands  on  the  site  of  two  ancient  hotels,  celebrated  in  French  literature. 
They  were  bought  by  Cardinal  Richelieu,  who  tore  them  down  and 
constructed  a  palace,  which  was  completed  in  1634.  He  called  it  the 
Palais  Cardinal  Richelieu  left  it  to  the  crown,  and  after  the  death  of 
Louis  XIII.,  Anne  of  Austria  lived  there  with  her  two  sons.  In  1672, 
Louis  XIV.  gave  it  to  his  brother,  the  Duke  of  Orleans,  and  it  became 


THE  FAIRIE  CITY. 


79 

the  residence  of  the  Orleans  family.  Under  the  tenancy  of  the  Regent 
Orleans,  it  gained  evil  notoriety,  on  account  of  his  orgies.  The  great 
grandson  of  the  Regent  surrounded  the  gardens  with  shops  whose 
rental  produced  his  income.  Napoleon  I.  made  it  the  seat  of  the 
Tribunat.  After  the  Restoration  it  was  given  back  to  the  Orleans 
family,  as  the  Royal  Palace,  and  Louis  Philippe  lived  there  until  1832. 
It  was  sacked  by  the  populace  in  1848.  In  1852,  it  became  the  resi¬ 
dence  of  Jerome  Bonaparte,  who  lived  there  until  1870.  It  suffered 
severely  from  various  fires,  notably  that  kindled  by  the  Commune  in 
1871,  and  in  its  present  shape  is  a  series  of  perpetual  restorations.  It 
is,  under  the  present  Republic,  the  seat  of  the  Council  of  State  and 
the  Fine  Arts  Department.  It  is  situated  just  opposite  the  Louvre  at 
the  point  where  the  Street  St.  Honore  intersects  the  Street  Rivoli. 

The  Luxembourg  Palace  is  notable  as  being  the  meeting  place  of 
the  Senate  branch  of  the  French  National  Assembly.  It  was  built  in 
1612  for  Marie  de  Medici,  after  the  design  of  the  Palace  of  Florence.  It 
is  named  from  Luxembourg,  the  original  owner  of  the  site.  It  became 
historic  as  the  residence,  respectively,  of  Mile,  de  Montpensier,  Louis 
XIV.  and  Louis  XVIII.  The  Revolution  converted  the  palace  into  a 
prison,  and  here  were  confined  Empress  Josephine,  Danton,  Desmou¬ 
lins,  Thomas  Paine  and  others.  Toward  the  end  of  the  18th  century 
it  became  the  seat  of  legislative  bodies,  and  is  so  continued  to  this  day, 
the  present  Senate  having  been  installed  there  in  1879.  Several  famous 
trials  have  taken  place  in  the  Luxembourg,  the  Senate  constituting  a 
Superior  Court.  Ney  was  tried  there  in  1815;  Louis  Napoleon  in 
1840;  Boulanger,  Dillon  and  Rochefort  in  1890.  The  Luxembourg 
gardens  have  already  been  described.  The  public  chambers  and  halls 
of  the  Palace  are  rich  in  paintings  and  sculptures.  Besides  there  is  in 
the  Palace  a  National  Gallery  of  French  Art,  which  was  really  the  first 


So 


THE  PARIS  EXPOSITION. 


museum  of  France,  but  whose  function  has  been  largely  transferred  to 
the  Louvre.  It  is  still,  however,  a  magnificent  museum  of  the  works 
of  living  artists  purchased  by  the  State.  The  collections  have  grown 
very  rapidly  since  1818,  and  its  scope  has  gradually  been  extended  to 
embrace  the  art  of  all  nations.  The  historic  Petit  (Little)  Luxembourg, 
a  wing  of  the  grand  Palace,  is  the  residence  of  the  President  of  the 
Senate. 

The  Palais  Bourbon  is  at  present  notable  as  the  seat  of  the  Cham¬ 
ber  of  Deputies  of  the  French  Republic.  It  is  on  the  southern  bank  of 
the  Seine,  and  its  site  was  sold  to  the  Duchess  of  Bourbon,  who  built 
a  mansion  on  it  in  1722.  This  was  repeatedly  enlarged  by  different 
owners,  and  for  different  purposes,  when  Napoleon  I.  chose  it  as  the 
home  of  the  Legislative  Corps,  in  1807,  adding  its  present  classic  facade, 
with  twelve  majestic  columns.  Here  sat  the  celebrated  Council  of  Five 
Hundred,  and  here,  under  different  names,  the  Chamber  of  Deputies 
has  met,  with  slight  interruptions,  since  the  Restoration  down  to  the 
present.  In  this  hall  the  greatest  parliamentary  orators  in  France  have 
been  heard,  and  here  have  occurred  several  of  the  most  famous  scenes 
in  the  history  of  France  during  the  nineteenth  cntury. 

The  Palace  of  the  Institute  of  France  is  a  magnificent  domed  struc¬ 
ture  on  the  left  bank  of  the  Seine,  and  facing  the  Louvre  at  the  south 
end  of  the  Bridge  of  Arts.  It  is  the  great  literary  and  scientific  centre 
of  Paris,  uniting  within  its  walls  the  five  learned  academies — Academy 
of  France,  Academy  of  Inscriptions  and  Belles  Lettres,  Academy  of 
Sciences,  Academy  of  Fine  Arts,  Academy  of  Sciences,  Morals  and 
Politics.  The  Institute  is  a  development  of  the  College  of  Four  Na¬ 
tions,  designed  for  the  education  and  gallicising  the  young  men  of  the 
four  alien  provinces  of  Alsace,  Pignerol,  Flanders  and  Roussillon.  It 
was  begun  in  .1662  and  finished  in  1674. 


THE  BRIDGE  OF  ALEXANDER  III. 


THE  FAIRIE  CITY. 


83 


The  Palace  of  Justice  corresponds  with  our  “Law  Courts,”  and 
forms  an  extensive  pile  of  buildings,  in  the  form  of  an  irregular  square, 
towards  the  western  extremity  of  the  Island  Cite.  The  northern  front 
looks  on  the  quay  of  the  Clock,  the  eastern  on  the  Palace  Boulevard, 
the  southern  on  the  Street  Sainte  Chapelle,  and  the  western  front  on  the 
Place  Dauphine.  It  contains  a  number  of  galleries,  courtyards,  and 
halls;  and  the  ground-plan  bears  some  resemblance  to  that  fanciful 
“gridiron”  on  which  the  Palace  of  the  Escurial  is  said  to  have  been 
modelled  by  Philip  II.  The  site  of  the  Palace  of  Justice  was  occupied 
many  centuries  ago  by  a  palace,  which  for  a  long  time  was  the  residence 
of  the  kings  of  France.  Of  this  ancient  palace  some  traces  remain,  in 
the  Tour  de  l’Horloge  (Clock  Tower)  and  the  two  adjacent  towers,  and 
above  all,  in  the  exquisite  Sainte  Chapelle.  The  palace,  almost  entirely 
rebuilt  towards  the  close  of  the  eighteenth  century,  suffered  severely 
by  the  vandalism  of  the  Communists,  who  in  1871  tried  to  burn  it  down; 
and  the  present  building  is  therefore  to  a  great  extent  new,  having  been 
restored  in  the  style  of  its  predecessor. 

The  Palace  of  the  Legion  of  Honor  was  erected  in  1786  for  the 
Prince  of  Salm;  but  during  the  Revolution  it  was  put  up  at  lottery 
and  won  by  a  baker.  In  1803  the  office  of  the  Legion  of  Honor  was 
established  there.  The  edifice  was  burned  by  the  Commune  in  1871, 
but  again  restored. 

No  city  in  the  world  is  richer  in  museums  and  picture  galleries 
than  Paris,  there  being  nearly  fifty  in  all.  As  already  intimated  in  de¬ 
scribing  the  Louvre,  its  gallery  is  the  most  important  in  the  city,  its 
origin  being  in  a  private  collection  given  to  Francis  I.  This  was  in¬ 
creased  by  collections  belonging  to  Louis  XIV.,  Louis  XV.,  Louis 
XVI.,  and  others  until,  at  the  outbreak  of  the  Revolution,  the  Louvre 
gallery  was  one  of  the  finest  in  the  world.  The  Revolution  did  not 


s4 


THE  PARIS  EXPOSITION. 


check  the  addition  of  rare  collections.  Napoleon,  throughout  his  wars, 
continually  enriched  the  Louvre  galleries  by  sending  to  them  the  most 
famous  works  of  art  from  all  Europe.  Since  1870,  valuable  gifts,  and 
the  results  of  artistic  and  scientific  expeditions  at  government  expense, 
have  greatly  increased  the  value  and  extent  of  the  various  collections. 

The  museums  and  galleries  of  the  Carnavalet  are  important  and 
interesting  as  containing  objects  illustrative  of  the  history  of  Paris,  and 
particularly  during  the  Revolution.  The  Cluny  Museum  is  devoted  to 
subjects  of  medieval  art,  and  contains  some  10,000  objects.  The  natural 
history  collections  in  the  Garden  of  Plants  are  the  largest  in  the  world. 
The  Luxembourg  Gallery,  containing  the  products  of  living  painters 
and  sculptors,  has  already  been  mentioned.  The  Artillery  Museum  in 
the  Hotel  Invalids  embraces  a  very  full  and  curious  collection  of  4,000 
specimens  of  military  weapons  of  all  lands,  kinds  and  ages.  The  very 
full  and  interesting  collections  in  the  Trocadero  Palace  embrace  com¬ 
parative  sculpture,  architecture  and  ethnology.  In  the  Guimet  Mu¬ 
seum  are  collections  devoted  to  Oriental  religions.  The  Galliera  Mu¬ 
seum,  a  magnificent  stone  structure  begun  in  1878  and  finished  in  1888, 
embraces  a  superb  miscellaneous  art  collection.  The  Paris  Mint  con¬ 
tains  one  of  the  world’s  finest  coin  collections.  The  National  Archives 
contain  immense  collections  of  historic  documents,  some  of  which  may 
be  consulted  by  the  public.  And  so,  very  extensive  and  valuable  col¬ 
lections,  special  to  public  institutions,  exist  throughout  the  city,  as 
those  bearing  on  pathological  anatomy  at  the  School  of  Medicine,  art 
at  the  School  of  Fine  Arts,  and  science  at  the  School  of  Mines. 

As  to  the  libraries  of  Paris,  the  National  Library  is  the  largest  in 
the  world,  containing  over  3,000,000  volumes,  and  one  of  the  impos¬ 
ing  sights  of  the  city.  It  dates  back  to  the  time  of  Charles  V.  (1364-80). 
It  grew  steadily  in  volumes  through  the  centuries,  but  came  forward 


THE  FAIRIE  CITY. 


*5 


with  great  bounds  during  the  Revolution,  when  the  convents  were 
suppressed  and  their  libraries  confiscated.  It  has  besides  its  vast  array 
of  books  some  300,000  maps  of  every  part  of  the  globe,  over  90,000 
ancient  and  modern  manuscripts,  many  volumes  of  rare  autographs, 
200,000  coins  and  medals,  and  over  20,000  portfolios  of  engravings. 

The  St.  Genevieve  Library  found  its  origin  in  the  ancient  church. 
It  contains  some  196,000  volumes,  mostly  of  an  encyclopedic  nature. 
It  has  besides,  some  25,000  engravings  and  4,000  manuscripts.  The 
Mazarin  Library,  at  the  institute  begun  by  Cardinal  Mazarin,  has 
250,000  volumes,  6,000  manuscripts  and  1,700  incunabula.  In  biblio¬ 
graphical  rarities  it  is  unsurpassed  in  France.  In  addition,  it  is  a 
museum,  filled  with  scientific  curiosities  and  art  objects.  The  Arsenal 
Library  contains  200,000  volumes  and  8,000  manuscripts.  Its  works 
mostly  relate  to  the  poetry  and  drama  of  France.  The  Opera  Library, 
located  in  the  Opera  House,  is  chiefly  devoted  to  music  and  the  drama. 
It  contains  15,000  volumes,  60,000  engravings  and  the  original  draw¬ 
ings  of  costumes  for  200  operas  or  ballets.  Many  other  notable  libra¬ 
ries  approximate  those  mentioned  in  size,  number  of  volumes  and 
utility. 

By  reason  of  their  constitutional  gaiety  and  their  devotion  to 
musical  and  dramatic  art,  the  French  people  are  natural  supporters  of 
places  of  amusement,  and  nowhere  do  we  find  opera-houses,  theatres 
and  music  halls  so  numerous  and  completely  appointed.  The  various 
theatres  have,  in  many  cases,  their  special  kinds  of  entertainments,  and 
four  of  the  principal  ones — the  Grand  Opera,  French  Theatre,  Opera 
Comique,  and  Odeon — receive  a  yearly  subsidy  from  the  government. 
The  most  important  and  interesting  of  the  theatres  of  Paris  is  the 
Grand  Opera.  It  ranks  as  the  finest  theatrical  edifice  in  the  world.  It 
is  situated  on  Opera  Square,  and  is  dedicated  to  the  production  of 


THE  PARIS  EXPOSITION. 


S6 

classical  opera  and  ballet,  which  are  always  produced  in  magnificent 
style.  It  cost  $6,000,000  to  build,  covers  11,000  square  yards,  and  seats 
2,200  spectators.  It  took  ten  years  to  build  the  structure,  which  was 
thrown  open  to  the  public  in  1875.  Its  grand  staircase  and  magnificent 
foyer  are  the  wonder  of  all  beholders.  The  government  appropriates 
to  it  annually  $160,000. 

The  leading  theatre  proper  of  France  and  of  the  world,  was  the 
Theatre  Francais  (or  Comedie  Francais).  It  was  partly  destroyed  by 
fire  in  March,  1900,  and  this  disaster  broke  a  chain  of  associations  which 
bound  together  the  finest  traditions  of  the  dramatic  art.  It  will,  how¬ 
ever,  be  rebuilt  exactly  on  the  old  lines,  and  the  customs  of  the  house 
will  be  revived  in  their  integrity.  Meanwhile  the  whole  company  has 
been  transferred  to  the  Odeon.  The  Theatre  Francais  was  the  leading 
classical  theatre  of  the  capital.  Its  site  was  the  Palais  Royal  at  the 
corner  of  Richelieu  street.  It  was  organized  in  1680,  and  the  recent 
structure  was  built  1782.  It  contained  a  large  auditorium,  a  hand¬ 
some  foyer,  and  was  richly  ornamented  with  paintings  and  busts  of 
dramatists.  It  receives  an  annual  subsidy  of  $48,000.  Among  its 
famous  actors  were  Talma,  Mars,  Rachel,  Coquelin  and  Bernhardt. 

The  Opera  Comique  was  burned  in  1887,  but  a  new  structure 
stands  in  its  place  in  the  Place  Boildieu  near  the  Italian  Boulevard.  It 
is  devoted  to  lighter  kinds  of  opera  and  lyrical  dramas.  The  Odeon 
stands  close  by  the  Luxembourg  Gardens.  It  was  opened  in  1782, 
burned  in  1799,  rebuilt  in  1808,  again  burned  in  1818,  and  immediately 
rebuilt.  It  contains  one  of  the  best  auditoriums  in  Paris,  and  enjoys  a 
government  subsidy  of  $25,000. 

Among  the  non-subsidized  theatres  of  importance,  are  the  Porte 
(Gate)  St.  Martin,  on  St.  Martin  Boulevard.  It  was  formerly  devoted 
to  ancient  religious  drama,  but  now  embraces  historical  and  spectacular 


JULY  COLUMN  1830  IN  BASTILLE)  SQUARE. 


THE  FAIRIE  CITY. 


89 


drama  of  the  higher  stamp.  It  is  patronized  by  a  very  fashionable 
public.  The  Bouffes  Parisiens  is  a  very  pretty  little  theatre  near  the 
Italian  Boulevard.  It  was  founded  by  Offenbach  for  the  production 
of  his  opera  bouffe  (comic  opera)  pieces.  The  Renaissance  Theatre 
adjoins  the  Theatre  St.  Martin.  It  is  devoted  to  modern  comedies  and 
to  operas  not  in  the  repertoire  of  other  theatres.  The  Sara  Bernhardt 
Theatre  is  named  after  the  famous  actress,  who  revived  the  old  Historic 
Theatre.  It  is  one  of  the  handsomest  theatres  in  Paris,  and  is  devoted 
to  comedies  and  drama,  classic,  romantic  and  modern,  but  always 
pieces  in  which  a  woman  performs  the  leading  part.  The  Nouveau 
Theatre  is  in  the  building  occupied  by  the  Paris  Casino,  but  has  no 
connection  with  it.  It  is  devoted  to  comedies,  dramas  and  historical 
pieces.  The  Chatelet  Theatre  is  situated  on  Chatelet  Square.  It  is 
one  of  the  largest  in  Paris,  and  has  an  immense  stage  for  spectacular 
pieces.  Its  movable  roof  is  taken  off  in  summer.  The  Vaudeville  is 
on  the  Italian  Boulevard,  near  the  Opera  House.  It  is  devoted  to  lively 
dramas  and  comedies,  and  is  patronized  by  audiences  who  seek  gaiety. 
The  Gymnase  Theatre  was  founded  in  1820.  It  produces  modern 
comedy  in  highly  finished  style.  It  is  regarded  as  one  of  the  best  of 
Parisian  theatres.  The  Varieties  Theatre  is  distinctly  Parisian,  being 
devoted  to  vaudevilles,  highly-spiced  comedies,  operettas,  burlesque 
historical  pieces,  etc.  The  Palais  Royal  Theatre  is  also  essentially 
French.  It  produces  comedy  in  its  broadest  sense,  interspersed  with 
farce.  The  Ambigue  Comique  produces  dramas  and  melodramas 
adapted  from  the  periodical  novels  (feuilletons)  which  run  in  the  news¬ 
papers.  The  Antoine  Theatre  is  a  new  one  devoted  to  modern  drama, 
as  represented  by  young  authors  of  promise.  Other  theatres  of  lesser 
importance  are  the  Nouveautes,  the  Athenae  Comique,  the  Cluny  The- 


5 


9° 


THE  PARIS  EXPOSITION. 


atre,  Theatre  Dejanet,  and  Theatre  Chateau  d’Eau  (Castle  of  Waters), 
the  latter  having  the  largest  auditorium  of  all  Paris  theatres. 

Beside  theatres,  Paris  offers  more  varied  entertainments  than  any 
other  city  in  the  world,  in  the  shape  of  music  halls,  circuses,  artistic 
shows,  dancing  and  singing  saloons,  and  unclassified  amusements. 

Restaurant  and  cafe  life  is  more  highly  developed  in  Paris  than  in 
any  other  city.  They  are  numbered  by  the  thousand,  but  the  more 
noted  ones  are  patronized  by  distinctive  lines  of  patrons,  thus  becom¬ 
ing  daily  meeting  places,  something  on  the  order  of  clubs.  The  Cafe 
Americain  is  the  one  at  which  daily  congregate  literary  men  and  artists; 
bankers  and  brokers  predominate  at  the  Cafe  Riche;  at  the  Cafe  de 
Helder  are  found  the  military  and  naval  officers,  and  cadets  of  the 
Military  School;  at  the  Cafe  Paix  rich  foreigners  congregate  to  meet 
compatriots  and  read  their  national  newspapers;  the  Cafe  Madrid  is  the 
headquarters  of  journalists;  at  the  Swiss  Cafe  and  Varieties  Cafe, 
mostly  actors  congregate;  students  are  chief  patrons  of  Cafe  Vachette; 
Scandinavians  and  chess  players  meet  at  the  Regence  Cafe.  The 
Grand  Cafes  are  chiefly  located  on  the  Boulevards,  between  Boulevard 
Montmartie  and  Madeleine.  Perhaps  the  most  famous  cafe  of  Paris, 
and  one  of  its  curiosities,  is  that  of  the  Chat  Noir  (Black  Cat). 

Paris  is  a  great  centre  of  education.  It  has  an  effective  common 
school  system,  embracing  all  the  grades  from  primary  to  normal.  It 
also  boasts  a  large  system  of  greater  schools,  lyceums,  institutes  and 
colleges,  devoted  to  special  and  general  education.  Thus,  there  are 
special  schools  devoted  to  manufactures,  colonization,  decorative  arts, 
fine  arts,  records,  Oriental  languages,  mines  and  mining,  political 
science,  military  and  naval  science,  engineering,  teaching,  the  profes¬ 
sions,  chemistry,  sciences  of  various  kinds.  There  are  four  great  col¬ 
leges,  three  of  which  belong  to  the  State  and  prepare  pupils  for  the 


THE  FAIRIE  CITY. 


9* 


higher  schools.  But  the  pride  of  Paris  and  of  France  is  the  Latin 
Quarter  of  the  city,  in  whose  centre  stands  the  Pantheon,  and  where 
clustre  those  venerable  institutions  of  learning  that  may  be  reckoned  as 
a  grand  national  university,  and  that  constitute  the  educational  glory 
of  the  Republic.  Here  within  five  minutes’  walk  of  one  another  are 
the  Serbonne,  the  heart  of  the  university;  the  College  of  France;  the 
special  schools  of  law,  medicine,  mines,  pharmacy,  fine  arts,  languages, 
etc.;  the  historic  Polytechnic  School,  the  Normal  School,  etc.  In  the 
faculties  of  these  schools  are  nearly  400  professors,  and  more  than  100 
lectures  are  delivered  every  day.  The  many  thousands  of  students  in 
attendance  come  from  all  parts  of  the  earth,  there  being  over  5,000  in 
the  medical  school  alone. 

The  Serbonne,  or  heart  of  the  university,  was  founded,  in  1256,  by 
St.  Louis  and  named  after  his  confessor,  Robert  of  Serbon.  It  was 
originally  a  theological  school,  but  grew  to  be  an  academy  of  scholastic 
science,  renowned  throughout  Europe.  Under  Richelieu  a  building 
was  erected  on  the  present  site  for  the  Theological  Faculty  of  the  Uni¬ 
versity  of  Paris.  In  1808,  the  Serbonne  was  proclaimed  the  seat  of  the 
University  of  France,  but  in  1896  its  jurisdiction  was  again  limited  to 
Paris.  It  is  the  University  of  the  Capital,  embracing  five  faculties — - 
Theology,  Literature,  Science,  Jurisprudence,  and  Medicine.  The  last 
two  are  installed  in  separate  buildings.  New  buildings  of  the  Serbonne, 
still  under  construction,  are  finely  decorated  with  paintings  and  sculp¬ 
tures  by  famous  modern  artists. 

The  College  of  France  stands  near  the  Serbonne.  It  was  founded 
in  1530  by  Francis  I.,  but  had  no  building  for  50  years.  It  finally  found 
a  home  in  two  buildings  which  occupied  the  site  of  the  present  College 
of  France,  whose  erection  was  begun  by  Henry  IV.  in  1610.  It  is  not 
an  integral  part  of  the  University.  Originally  founded  for  the  teaching 


gt 


THE  PARIS  EXPOSITION. 


of  Hebrew,  Greek  and  Latin,  it  has  acquired  world-wide  fame  as  a 
school  of  mathematics,  medicine  and  general  sciences.  The  Poly¬ 
technic  School  was  founded  in  1794.  It  is  a  government  school  for 
the  education  of  officers  of  artillery  and  engineers.  The  Superior  Nor¬ 
mal  School  instructs  in  the  higher  grades  of  teaching,  preparation  of 
professors,  etc.  The  Military  School  and  School  of  Fine  Arts  have  sites 
away  from  the  Latin  Quarter. 

Paris  contains  over  seventy  parish  churches,  and  some  fifty  Prot¬ 
estant  churches.  Of  the  former,  Notre  Dame,  the  metropolitan  cathe¬ 
dral,  is  the  largest  and  most  famous.  Its  corner-stone  was  laid  in  1163, 
6y  Pope  Alexander  III.,  but  it  was  not  finished  till  nearly  a  century 
later.  In  1845  a  thorough  restoration  of  the  church  was  begun.  Notre 
Dame  is  one  of  the  finest  specimens  in  France  of  the  ogival  (pointed) 
style  of  architecture.  Its  interior  is  132  yards  long,  53  wide  and  3 7 
high,  and  contains  37  chapels.  There  are  three  grand  rose  windows, 
whose  stained  glass  dates  from  the  13th  century.  The  large  bell  in  the 
south  tower  was  cast  in  1686,  and  weighs  30,000  pounds. 

The  Saint  Chapel  is  perhaps  the  most  beautiful  church  structure 
in  Paris.  It  was  built  by  St.  Louis  to  house  the  supposed  crown  of 
thorns  and  the  portion  of  the  true  cross.  It  was  finished  in  1247,  but 
has  since  been  restored.  The  Expiatory  Chapel  on  the  Boulevard 
Hausmann,  was  built  by  order  of  Louis  XVIII.,  and  finished  in  1826. 
It  commemorates  Louis  XVI.  and  Marie  Antoinette,  who  were  buried 
on  the  spot.  The  church  bearing  the  name  of  St.  Etienne  du  Mont 
dates  from  the  13th  century,  but  was  remodelled  in  1517.  The  rood- 
loft  is  a  17th  century  masterpiece  by  Biard.  Its  stained-glass  windows 
represent  the  best  artistic  work  of  the  16th  and  17th  centuries. 

The  Madelaine  Church  was  opened  in  1842,  though  begun  under 
Louis  XV.  Napoleon  I.  intended  it  to  be  a  Greek  temple,  dedicated 


/ 


ARCH  OF  TRIUMPH. 


THE  FAIRIE  CITY. 


95 


to  the  soldiers  of  the  Grand  Army.  It  is  now  one  of  the  most  richly 
ornamented  and  fashionable  churches  of  Paris.  The  Church  of  St. 
Roch  was  begun  in  1653.  On  the  top  of  the  steps  of  this  church,  Bona¬ 
parte  placed  the  cannon  which  checked  the  uprising  of  1795.  The 
Church  of  the  Sacred  Heart,  on  the  Montmartre  Heights,  is  of  Byzan¬ 
tine  architecture.  Its  roof  affords  a  fine  view  of  Paris.  St.  Sulpice 
Church  was  begun  in  1646,  and  was  known  as  the  Temple  of  Victory 
during  the  Convention.  Val  de  Grace  Church  was  erected  by  Anne 
of  Austria  as  a  thank  offering  for  the  birth  of  the  future  Louis  XIV. 
Its  cupola  is  an  imitation  of  that  of  St.  Peter’s  at  Rome.  Many  other 
of  the  Catholic  churches  of  Paris  take  high  architectural  rank  and  are 
of  great  beauty.  Of  the  forty-five  or  more  Protestant  churches  that  of 
the  Oratoire  is  the  most  conspicuous. 

The  Pantheon,  though  now  secularized,  ranks  as  one  of  the  most 
imposing  and  historic  of  eccleciastical  structures.  It  stands  on  the 
heights  south  of  the  Seine,  and  marks  the  spot  where  Ste.  Genevieve, 
patron-saint  of  Paris,  was  buried.  The  chapel  raised  over  her  tomb 
became  a  church  dedicated  to  her  name,  in  which  her  body  was  en¬ 
closed  in  a  magnificent  shrine,  executed  by  St.  Eligius,  the  goldsmith- 
saint.  It  soon  became  a  point  of  pilgrimage,  and  a  religious  centre 
round  which  sprang  up  the  great  Augustinian  monastery  of  Ste.  Gene¬ 
vieve.  Towards  the  middle  of  the  18th  century,  when  the  church  had 
fallen  into  decay,  Louis  XV.  determined  to  replace  it  by  a  grandiose 
building  in  the  classic  style  of  the  period.  The  shrine  of  Ste.  Genevieve 
was  removed  and  the  great  building  was  begun  under  the  direction  of 
Soufflot.  Louis  XV.  laid  the  foundation  stone  in  1764.  Unfinished 
at  the  outbreak  of  the  Revolution,  it  was  secularized  as  a  burial-place 
for  the  great  men  of  France.  Louis  XVIII.  restored  it  to  the  church 


96 


THE  PA'RIS  EXPOSITION. 


as  a  place  of  worship,  but  in  1885,  on  the  occasion  of  the  death  of 
Victor  Hugo,  it  was  once  more  secularized. 

Many  reminiscences  of  the  various  insurrectionary  movements  in 
Paris  are  associated  with  the  Pantheon.  On  June  24,  1848,  the  insur¬ 
gents  installed  themselves  in  the  building,  and  sustained  a  regular 
siege.  Sheltered  behind  the  columns  of  the  cupola,  they  fired  down 
upon  the  troops  who  had  occupied  the  School  of  Law.  General 
Damesme  was  at  last  obliged  to  cannonade  the  great  bronze  door, 
which  fell  in  with  a  crash.  One  of  the  colossal  statues  of  the  peristyle 
was  shattered. 

On  May  24,  1871,  the  Communards  had  fortified  the  Place,  defend¬ 
ing  it  by  two  important  barricades,  one  of  which  extended  across  the 
entrance  into  the  Street  Soufflot.  The  Versailles  troops  advanced  in 
detached  columns  from  three  sides,  and  after  fierce  fighting  under  a 
storm  of  shells  and  bullets  from  the  Pantheon,  succeeded  in  carrying 
the  barricades  in  the  immediate  vicinity,  when  they  dislodged  the  in¬ 
surgents  by  a  bayonet  charge.  But  for  the  promptness  of  their  action 
the  monument  would  have  perished  like  the  Hotel  de  Ville.  Barrels 
of  gunpowder  and  vats  filled  with  petroleum  were  placed  in  the  vaults, 
awaiting  the  signal  to  blow  up  the  building. 

Of  the  nineteen  cemeteries  of  Paris,  thirteen  are  within  the  walls. 
The  largest  of  these  is  Pere  Lachaise,  covering  100  acres,  and  con¬ 
taining  the  tombs  of  many  of  France’s  most  distinguished  characters. 
A  crematory  is  connected  with  it.  The  next  largest  is  the  Montmartre 
cemetery,  and  the  next  Montparnasse.  One  of  the  most  remarkable 
burial  places  of  Paris  is  the  Catacombs.  These  were  ancient  quarries 
dating  from  the  time  of  the  Romans.  During  the  last  century  the 
quarry  galleries  began  to  give  way  and  to  consolidate.  This  suggested 
their  use  as  catacombs,  and  the  remains  from  the  disused  Cemetery  of 


THE  FAIRIE  CITY. 


97 


Innocents  were  brought  thither  and  deposited.  They  were  solemnly 
consecrated  in  1786,  and  since  have  received  all  the  remains  ex¬ 
humed  from  old  cemeteries  closed  for  sanitary  reasons.  The  con¬ 
tents  of  sixteen  cemeteries  were  deposited  here  between  1792  and 
1814.  During  the  disorders  of  the  great  Revolution,  immense 
quantities  of  skeletons  brought  to  light  by  the  rifling  of  tombs, 
etc.,  were  thrown  into  the  Catacombs.  In  one  vault  are  the  remains 
of  victims  of  the  prison  massacres  in  September,  1789.  In  1810  a  new 
system  of  arrangement  and  classification  was  adopted,-  and  order  was 
introduced  into  the  unseemly  chaos  that  obtained.  Some  three  mil¬ 
lions  of  bodies  are  represented  by  the  skulls  and  bones  that  line  the 
galleries. 

Periodical  publication  flourishes  in  Paris  in  great  luxuriance.  Its 
reviews  rank  among  the  ablest  of  the  world.  The  illustrated  and  artistic 
journals  hold  the  very  highest  place.  Its  daily  papers  are  spicy  in 
news  but  lack  editorial  strength.  The  Petit  (Little)  Journal  enjoys  the 
patronage  of  1,000,000  every  morning.  It  has  the  largest  circulation 
in  France.  The  Gaulois  is  the  fashionable  journal  of  Paris,  and  the 
Journal  Officiel  is  the  official  organ  of  the  Government. 

The  hospitals  of  Paris  are  monuments  to  the  charity  and  scientific 
^culture  of  the  metropolis.  The  oldest  is  the  Hotel  Dieu  (God),  founded 
about  660,  and  rebuilt  between  1868  and  1878.  It  contains  nearly  600 
beds.  The  Charity  Hospital,  founded  in  1602  by  Marie  de  Medici,  is 
the  chief  lying-in  hospital.  The  Lariboisiere  was  endowed  by  Countess 
Lariboisiere  with  $600,000  for  the  Paris  poor.  It  contains  690  beds. 
Among  other  leading  hospitals  are  the  Necker,  Pity,  St.  Antoine,  St. 
Louis,  Midi,  Louveine,  Maternity,  and  many  devoted  exclusively  to 
children. 


THE  PARIS  EXPOSITION. 


The  central  markets  of  Paris,  where  wholesale  trade  in  foodstuffs 
is  carried  on,  are  called  LesHalles  (The  Stalls).  These  comprise  ten 
pavilions  of  glass  and  iron,  each  about  half  an  acre  in  size  and  separated 
from  each  other  by  covered  streets.  They  cover  in  all  some  1 1 1  acres, 
and  the  Ceinture  (Belt-line)  railway  delivers  products  to  them.  They 
are  capable  of  holding  4,600  cattle,  4,000  calves,  7,000  pigs  and  22,000 
sheep.  Close  to  them  is  the  corn  market,  but  the  greater  part  of  the 
grain  arriving  in  Paris  is  either  stored  at  the  railway  stations  or  taken 
directly  to  the  distributing  warehouses  or  to  the  bakers.  There  are 
three  great  markets  for  wines  and  spirits,  and  numerous  special  markets 
for  skins,  horses,  fruits,  charcoal,  etc. 

The  water  supply  of  the  city  is  derived  from  the  Seine  by  pumpage 
and  canal  into  elevated  reservoirs.  The  sewage  is  collected  by  an 
admirable  system  of  sewers  into  two  great  sewers  terminating  on  the 
Seine  at  Clichy.  These  are  connected  and  can  be  drained  by  pumpage 
for  the  purpose  of  utilization  as  fertilizers. 

In  proportion  to  its  population,  Paris  is  not  preeminently  a  manu¬ 
facturing  or  commercial  city,  on  account  of  its  distance  from  the  sea. 
The  highly  concentrated  government  of  France  necessitates  for  it  a 
numerous  official  life.  But  it  is  a  great  financial  centre,  and  the  seat 
of  residence  for  foreigners  from  all  parts  of  the  world,  not  only  the 
wealthy,  but  authors,  artists,  scientific  men,  students.  Its  largest 
financial  institution  is  the  Bank  of  France.  Its  manufacturing  indus¬ 
tries  run  largely  to  products  involving  taste  and  a  high  order  of  artisan- 
ship,  such  as  bronzes,  jewelry,  decorative  furniture,  and  that  infinite 
variety  which  have  come  to  be  known  as  “Parisian  Articles,”  for  lack 
of  better  classification.  In  the  publishing  business,  Paris  practically 
does  the  work  of  entire  France,  especially  in  the  production  of  engrav¬ 
ings  and  illustrated  books.  The  larger  manufacturing  establishments 


THE  FAIRIE  CITY. 


99 


include  engineering  works  chiefly  in  connection  with  railways,  foun¬ 
dries  and  sugar-refineries.  The  Government  itself  runs  for  its  benefit 
the  tobacco  factories,  the  national  printing  establishment,  the  mint,  the 
Gobelins  Tapestry  factory  and  the  dye-works.  Paris  excels  in  establish¬ 
ments  appertaining  to  the  manufacture  of  clothing,  hats  and  food- 
products. 

For  administrative  purposes  Paris  is  divided  into  twenty  arrond- 
issements  (wards),  and  each  ward  into  four  quarters.  Each  quarter 
elects,  by  universal  suffrage,  a  member  of  the  municipal  council.  Each 
arrondissement  has  a  mayor  and  three  deputies,  nominated  by  the 
governor,  or  prefect,  of  the  department  of  the  Seine,  who  act  as  regis¬ 
trars  and  take  charge  of  the  poor  relief.  And  so,  each  has  a  justice  of 
the  peace  nominated  by  the  Government.  The  municipal  council 
votes  upon  the  budget  of  the  city.  The  prefect  of  the  Seine,  and  the 
prefect  of  police,  both  government  officials,  represent  the  central  muni¬ 
cipal  authority.  They  are  both  high  and  responsible  offices,  the  former 
having  in  charge  elections,  taxation,  municipal  debt,  schools,  public 
lands,  markets,  cemeteries,  etc.;  and  the  latter  the  police,  and  public 
safety. 


/ 


Exposition  Site  and  General  Plan. 


HE  success  of  the  International  Exposition  at  Paris,  in 
1889,  was  the  inspiration  of  that  of  1900,  in  the  same 
city.  As  early  as  1893,  preparations  were  begun  for  the 
latter  by  the  scientific  and  business  minds  of  Paris  and 
the  nation.  Private  contributions  were  solicited,  and 
the  responses  were  prompt  and  generous.  Plans  were  called  for  and 
were  offered  numerously.  The  government,  municipal  and  national, 
contributed  material  and  moral  encouragement.  By  a  system  of  draw¬ 
ings,  all  the  people,  without  reference  to  station,  were  asked  to  con¬ 
tribute  their  mite,  even  if  it  were  no  more  than  the  price  of  a  ticket  of 
admission.  It  thus  came  about  that  the  estimated  cost  of  the  Exposi¬ 
tion  was  well  assured  in  advance. 

Then  came  the  selection  of  a  plan  out  of  many  offered  for  the  Ex¬ 
position  Universelle  (Universal  Exposition),  or  as  we  call  it,  Interna¬ 
tional  Exposition.  This  was  difficult,  because  of  architectural  varieties 
added  to  space  selections.  The  areas  at  command  forbade  the  grouping 
of  structures  in  a  single  place,  yet  they  must  be  so  contiguous  as  to  con¬ 
vey  the  impression  of  a  grand  whole,  as  well  as  to  contribute  to  the  com¬ 
fort  of  visitation ;  and  it  can  be  safely  said  of  the  plan  finally  agreed  upon 
that  its  most  remarkable  feature  is  unquestionably  the  astonishing  man¬ 
ner  in  which,  notwithstanding  its  amazing  proportions,  the  contiguity 
and  perfection  of  detail  has  been  maintained  throughout. 

At  the  Chicago  Exposition  of  1893,  there  was  a  stupendous  White 
City  in  Jackson  Park,  which  bore  lit  tie  vital  relation  to  Chicago  as  a  city, 
or  to  its  place  as  an  exemplar  of  modern  civilization.  It  was  different 
with  the  Paris  Exposition  of  1900.  By  the  genius  which  inspired  it,  by 


IOI 


io  2 


THE  PARIS  EXPOSITION. 


the  spirit  which  presided  over  it,  by  the  fact  of  its  location  in  the  very 
heart  of  the  metropolis,  it  became  an  essential  part  of  the  city  itself,  and 
a  manifestation  of  that  cosmopolitan  life  which  Parisians  love  to  cater 
to  and  enjoy.  And  since  the  adage  is  in  great  part  true  that  Paris  is 
France,  the  Parisians  through  their  Exposition  reflected  more  of  the 
characteristics  of  their  nation  at  large  than  would  have  been  possible 
with  any  other  city  on  the  globe.  It  would  seem  as  if  Paris  had  made  of 
the  Exposition  an  opportunity  to  show  to  the  world,  at  a  noble  feast  to 
which  all  the  nations  were  invited,  the  light,  life,  liberality  and  taste  of 
the  French  people,  and  to  ask  comparison  of  them,  in  no  invidious  spirit, 
with  all  the  things  illustrative  of  the  past  and  present  which  the  invited 
guests  could  bring  along  with  them. 

Through  all  her  preparations  for  the  Exposition  ran  this  conscious¬ 
ness  that  Paris  and  the  Exposition  were  in  a  measure  convertible  terms, 
and  that  conceding  whatever  glories  one  might  please  to  other  cities, 
she  was  the  typical  one  of  the  world  in  which  to  exemplify  human  his¬ 
tory  and  progress,  and  at  the  same  time  to  attract  and  please  the  infinite 
variety  of  visitors  which  represented  the  different  nations.  By  virtue  of 
her  frequent  former  Expositions,  she  knew  more  about  them  than  any 
other  city.  Pier  instincts  were  all,  as  it  were,  exhibitionward.  Her 
broad  avenues,  charming  sights,  atmosphere  of  gaiety  and  joy,  polished 
manners,  and  richness  of  art,  would  prove  an  invitation  and  relief  to 
sadder  and  more  stolid  nations.  She,  above  all  other  cities,  could  afford 
to  bid  the  world  welcome  and  be  for  a  time  the  world’s  benevolent  host 
and  admired  friend. 

And  she  could  do  this  for  another  reason — one  unusual  with  Expo¬ 
sitions.  The  Exposition  of  1900  was  an  actual  part  of  the  city  in  respect 
to  its  ornamentation  and  control.  Its  architecture  and  decoration  were 
provided  under  the  supervision  of  those  city  departments  which  had  for 
years  shown  such  exquisite  taste  in  the  development  of  Parisian  architec- 


VIEW  ON  THE  SEINE  LOOKING  TOWARDS  THE  BRIDGE  OF  AEEXANDER  III. 


EXPOSITION  SITE  AND  GENERAL  PLAN. 


ioS 

ture  and  embellishment.  This  assured  an  artistic  finish  for  the  various 
Exposition  buildings  in  keeping  with  the  exquisite  and  permanent  or¬ 
namentations  in  the  city  itself.  Moreover,  the  control  of  the  Exposi¬ 
tion  remained  in  the  hands  of  those  who  controlled  the  department  of 
Public  Works,  and  other  important  departments.  This  assured  for  the 
Exposition  the  same  character  of  lawns  and  parks  which  distinguishes 
the  city,  the  same  freedom  of  travel,  and  respect  for  peace. 

The  estimated  area  of  the  space  devoted  to  the  buildings  and 
grounds  of  the  Exposition  of  1900  was  1,030,000  square  yards,  an  area 
much  larger  than  the  Exposition  of  1889,  and  more  than  four  times  that 
of  1878.  This  immense  area  was  divided  geographically  into  six  parts 
or  sections,  and  the  site  and  plan  of  the  Exposition  may  be  best  de¬ 
scribed  by  their  mention ;  though,  for  the  purpose  of  grouping  the  ex¬ 
hibits,  there  were  really  eight  sections,  three  of  which  were  assigned  to 
the  beautiful  Champ  de  Mars  (March  Camp). 

The  official  opening  of  the  Exposition  of  1900  took  place  in  the 
Salle  des  Fetes  (Festival  Hall)  on  April  14,  1900.  The  occasion  was 
a  mixture  of  gorgeous  splendor  within  the  hall  with  the  confusion  inci¬ 
dent  to  a  state  of  unpreparedness  without.  But  this  last  has  ever  been 
common  to  expositions  of  great  magnitude.  They  have  never  been 
perfect  on  opening  day.  On  that  date  Paris  awoke  in  gala  attire  ready 
to  enjoy  the  anticipated  fete.  The  weather  was  bright  and  the  boule¬ 
vards  were  thronged.  By  noon  the  Place  de  la  Concord,  on  which 
fronted  the  monumental  gate  to  the  Exposition,  was  filled  with  people. 
All  the  omnibuses  and  river  boats  were  decorated  with  festoons  of  flow¬ 
ers  and  bay  leaves.  Pennants  and  flags  fluttered  from  every  window  in 
every  street.  The  Place  de  l’Opera  (Opera  Square)  was  particularly 
resplendent  with  escutcheons  of  the  Republic,  steel  breastplate  '  and 
crossed  swords,  insignia  of  the  Military  Club,  whose  home  was  within 
the  square. 


THE  PARIS  EXPOSITION. 


jot 

As  the  day  advanced  the  weather  grew  finer  and  finer.  At  2.15  P. 
M.,  Pesident  Loubet,  followed  by  his  ministers,  entered  the  Grand 
Presidential  Tribune,  where  the  gorgeously  attired  diplomatic  corps 
awaited  him,  streams  of  sunlight  were  pouring  through  the  rich  stained 
glass  dome  of  the  Salle  des  Fetes,  where  the  ceremony  took  place.  The 
President  reached  the  front  of  the  Tribune  amid  the  strains  of  the  “Mar¬ 
seillaise”  and  the  applause  of  an  audience  comprised  chiefly  of  the  polit¬ 
ical,  artistic  and  intellectual  elite  of  France.  President  Loubet  ex¬ 
tended  greetings  to  the  Ambassadors  of  the  various  countries  repre¬ 
sented.  When  all  were  seated,  M.  Millerand,  Minister  of  Commerce, 
delivered  the  opening  oration,  in  the  course  of  which  he  said : 

“The  persevering  efforts  and  the  passionate  energy  of  M.  Picard 
(the  commissioner  general)  and  of  his  colleagues  made  possible  the  pro¬ 
digious  work  which  I  present  to  you  to-day.  One  cannot,  however, 
without  committing  an  injustice,  extract  names  from  the  notable  lists 
of  artists,  engineers  and  contractors  who  were  the  artisans  of  these  mar¬ 
vels. 

“The  universe  is  associated  with  France  in  this  gigantic  enterprise, 
and  the  government  of  the  Republic  fulfills  a  very  pleasant  duty  of  hos¬ 
pitality  and  gratitude  in  expressing  its  thanks  to  those  sovereigns  and 
chiefs  of  state.  The  visitor  to  the  exposition  will  owe  to  the  friendly 
people  who  have  shown  so  much  eagerness  and  good  will  in  receiving 
the  invitation  to  visit  the  exposition  the  miracle  of  being  able  to  in  a  few 
minutes  make  a  tour  of  the  world.  The  types  of  all  architecture  grouped 
side  by  side  on  the  two  banks  of  the  Seine  in  a  sparkling  and  harmonious 
disorder  will  captivate  his  imagination  while  pleasing  his  vision,  and  by 
a  natural  affiliation  of  ideas  this  picturesque  display  will  give  birth  in  his 
soul  toward  the  reflection  that  however  distant  they  appear  to  be  from 
one  another,  by  education,  custom  and  prejudice,  all  the  sons  of  Europe, 
citizens  of  diverse  nationalities  belong  to  the  same  family,  and  their  duty 


EXPOSITION  SITE  AND  GENERAL  PLAN. 


107 


like  their  interest,  is  to  work  toward  increasing  the  common  patrimony 
of  science  and  art. 

“What  progress  can  be  realized,  what  transformations  brought 
about  in  the  space  of  only  three  generations,  a  glance  at  the  Centennial 
Exposition  would  reveal  to  us.  The  time  will  come  when  other  voices, 
more  authoritative  than  mine,  will  make  the  inventory  of  the  artistic 
treasures  enclosed  in  these  edifices.  I  will  limit  my  ambition  to  recall¬ 
ing  how  in  a  hundred  years  the  face  of  the  material  world  has  been  re¬ 
newed. 

“Words  fail  me  to  express  the  grandeur  and  the  extent  of  this  eco¬ 
nomical  revolution  under  our  hand.  We  have  seen  the  forces  of  nature 
subdued  and  disciplined.  Steam  and  electricty,  reduced  to  the  role  of 
occult  servants,  have  transformed  the  conditions  of  existence.  Machin¬ 
ery  has  become  the  queen  of  the  world.  Installed  in  power  in  our  fac 
tories,  constructed  of  iron  and  steel,  she  has  replaced  by  slow  but  con¬ 
tinuous  invasion  the  workers  of  flesh  and  bone,  of  whom  she  makes  aux¬ 
iliaries.  What  a  change  in  human  relations ! 

“Distances  diminish  to  the  point  of  disappearing.  In  a  few  hours 
are  devoured  distances  which  were  formerly  only  accomplished  at  the 
price  of  days  and  of  great  fatigue.  The  telephone,  that  sorcerer,  brings 
to  our  ear  the  words  and  even  the  tone  of  a  friend’s  voice,  separated  from 
us  by  hundreds  of  miles.  The  intensity  and  the  power  of  life — of  death 
itself — recoil  before  the  victorious  march  of  the  human  soul.  The  gen¬ 
ius  of  a  Pasteur,  pure  benefactor  of  humanity,  whose  glory  is  not  over¬ 
cast  by  any  shadow,  increases  a  hundred-fold  the  power  of  surgery  and  of 
medicine.  The  malady,  seized  at  its  origin  and  isolated  ceases,  and 
there  appears  on  the  horizon  the  happy  period  when  the  epidemics 
which  ravaged  cities  and  decimated  peoples  will  no  longer  be  anything 
but  terrifying  memories  and  legends  of  the  past. 


THE  PARIS  EXPOSITION. 


r©8 

'Thus  does  science  multiply  with  admirable  prodigality  the  means 
which  she  places  at  the  disposal  of  man  to  bend  the  exterior  forces  to  her 
laws,  or  guarantee  him  against  their  hostility.  She  renders  him  a  more 
signal  service  in  giving  up  to  him  the  secret  of  the  material  and  moral 
grandeur  of  the  societies  which  can  be  described  in  one  word — solidarity. 
We  are  the  heirs  of  the  faults  as  well  as  of  the  meritorious  points  of  our 
fathers,  and  we  are  already  writing  the  history  of  the  solidarity  of  our 
sons  and  of  our  ancestors,  and  why  should  not  we  do  so  in  the  case  of  our 
contemporaries? 

"We  must  not  forget  these  physical  contagions,  the  houses  of  the 
poor,"  where  the  morbid  germ  of  uncultured  brains  are  sheltered,  where 
superstition  and  hatred  ferment,  constituting  perils  of  which  a  far-seek¬ 
ing  intelligence  is  destined  to  convince  us.  We  must  hasten  their  dis¬ 
appearance,  triumph  over  ignorance  and  conquer  misery. 

"What  higher,  more  pressing  social  duty  is  there?  If  the  most 
generous  altruism  and  the  sweetest  of  sentiment  find  in  themselves  their 
reward,  and  diffuse  in  personal  interest  its  most  thorough  justification, 
imagine  the  outcome  of  mutual  assistance  of  syndicates  and  associations 
of  all  descriptions  destined  to  group  themselves  into  one  sheaf,  resisting 
individual  weakness,  so  many  proofs  of  human  solidarity. 

"It  aims  to  lessen  in  the  bosom  of  each  nation  the  shocking  inequal¬ 
ities  resulting  from  nature  or  from  the  social  regime.  It  proposes  to 
unite  in  the  bonds  of  a  real  fraternity  the  children  of  a  same  people.  But 
its  effects  do  not  stop  at  frontiers.  Interests,  ideas  and  sentiments  in¬ 
termingle  and  cross  each  other  over  the  whole  surface  of  the  globe,  like 
those  light  threads  in  which  human  thought  floats — beneficent  com¬ 
plexity  which  permits  us  already  to  discern  a  new  era  of  which  only  yes¬ 
terday  a  noble  initiative  forged  at  The  Hague  conference  the  first  links. 
Yes,  more  strongly  than  we  could  have  done  ourselves  international  re- 


VIEW  OF  THE  PARK  OF  THE  CHAMP  DE  MARS  TAKEN  FROM  THE  EIFFEE  TOWER. 


EXPOSITION  SITE  AND  GENERAL  PLAN. 


1 1  it 

lations  have  shaped  themselves  from  the  multiplicity  of  news  and  the 
stability  of  exchange. 

“Besides,  we  have  reason  to  hope  and  believe  that  a  day  will  come 
when  the  world  will  only  know  the  profitable  rivalries  of  peace  and  the 
glorious  struggles  of  labor.  Oh,  labor,  labor,  Creator,  sacred  Creator. 
It  is  Thou  who  ennoblest.  It  is  Thou  who  consolest.  Under  Thy 
footsteps,  ignorance  is  dissipated  and  pain  flies.  By  Thee  humanity  has 
leaped  over  the  barriers  of  the  night  and  mounts  unceasingly  toward 
the  luminous  and  serene  region,  where  one  day  will  be  realized  the  ideal 
and  perfect  accord  of  the  power  of  justice  and  of  good.” 

M.  Millerand’s  address  was  warmly  applauded,  and  then  President 
Loubet  arose  and  spoke  as  follows : 

“In  inviting  the  governments  and  the  peoples  to  make  with  us  a 
synthesis  of  human  work,  the  French  Republic  had  not  only  in  mind  to 
institute  competition  of  visible  marvels  and  to  renew  on  the  banks  of  the 
Seine  the  ancient  renown  of  elegance  and  courteous  hospitality.  Our 
ambition  is  more  lofty ;  it  soars  infinitely  above  the  brilliance  of  transitory 
fetes  and  does  not  confine  itself. 

“Whatever  patriotic  satisfaction  we  may  experience  to-day  to  the 
gratification  of  our  amour  proper  or  self-interest,  France  wished  to  give 
a  striking  contribution  to  the  bringing  about  of  concord  between  peo¬ 
ple.  She  has  the  consciousness  of  working  for  the  good  of  the  world 
at  the  conclusion  of  this  noble  century  in  which  the  victory  over  error 
and  hatred  was  all  incomplete,  but  which  bequeaths  to  us  a  living  faith 
in  progress.” 

President  Loubet  then  spoke  of  the  admirable  spectacle  that  the 
Exposition  afforded  of  mind  disciplining  the  forces  of  nature,  and  of  the 
support  foreign  governments  had  lent  France  in  accomplishing  the 
great  work. 


6 


THE  PARIS  EXPOSITION 


112 

In  conclusion  the  President  said:  “Gentlemen,  this  work  of  har¬ 
mony,  peace  and  progress,  however  ephemeral  its  outward  show,  will 
not  have  been  in  vain ;  the  peaceful  meeting  of  the  governments  of  the 
world  will  not  remain  sterile.  I  am  convinced  that,  thanks  to  the  per¬ 
severing  affirmation  of  certain  generous  thoughts  with  which  the  ex¬ 
piring  century  has  resounded,  the  twentieth  century  will  witness  a  little 
more  fraternity  and  less  misery  of  all  kinds,  and  that  ere  long,  perhaps, 
we  shall  have  accomplished  an  important  step  in  the  slow  evolution  of 
the  work  toward  happiness  and  of  man  toward  humanity.” 

This  peroration,  delivered  with  fervor,  evoked  an  outburst  of  cheer¬ 
ing.  When  the  cheering  had  subsided  President  Loubet  said : 

“It  is  under  these  auspices  and  in  this  hope  that  I  declare  open  the 
Exposition  of  1900.” 

The  music  that  attended  the  opening  of  the  Exposition  was  one  of 
its  most  notable  features.  The  famous  brass  band  of  the  Republican 
Guard  was  excellent  and  the  large  string  band  was  equally  well  received. 
The  great  chorus  of  male  and  female  voices  directed  by  one  chief  leader 
and  four  subordinates,  produced  a  grandiose  effect. 

The  ceremony  in  the  immense  auditorium  being  at  an  end  the 
President  and  the  distinguished  party  crossed  the  whole  length  of  the 
hall  and  mounted  the  grand  staircase,  lined  with  white-trousered  guards, 
and  the  disappearance  of  all  in  the  dim  distance  was  like  a  scene  from  a 
grand  opera.  A  few  minutes  later  the  procession,  after  visiting  half  a 
dozen  sections,  emerged  from  the  building  and  traversed  the  broad,  open 
lane  between  the  two  files  of  soldiers,  down  the  middle  of  the  Champ  de 
Mars. 

Throughout  this  open-air  promenade  the  sun-warmed  breeeze 
made  the  weather  gentle  and  all  that  could  be  desired,  but  one  could 
not  help  thinking  what  half  an  hour  of  rain  would  have  done  to  this  gay 
scene.  Amid  the  booming  of  cannon  the  President  embarked  on  the 


EXPOSITION  SITE  AND  GENERAL  PLAN. 


"3 


boat  that  was  to  convey  him  to  the  Seine  for  the  inaugural  ceremony  at 
the  Alexander  III  Bridge. 

The  Presidet’s  trip  down  the  river  was  a  dignified  spectacle.  All 
the  occupants  of  the  three  boats  remained  standing  during  the  voyage, 
if  it  may  be  so  called.  The  bands  that  accompanied  the  Presidential 
party  played  the  national  hymns  of  every  civilized  country.  Each  boat 
was  gorgeously  decorated  with  the  flags  of  all  nations,  and  all  sorts  of 
patriotic  insignia. 

It  was  close  on  4  o’clock  when  the  first  of  the  three  boats  made  its 
appearance  coming  from  the  neighborhood  of  the  Trocadero.  It  was 
followed  at  short  intervals  by  the  other  two.  They  moved  with  a  slow 
and  even  speed  toward  the  Alexander  Bridge.  At  that  point  an  im¬ 
mense  crowd  lined  the  river  bank  on  both  sides.  The  people  had  been 
waiting  for  the  President  for  several  hours.  During  that  time  they  had 
amused  themselves  by  visiting  the  national  pavilions,  in  some  of  which 
music  and  dancing  had  been  provided  to  while  away  the  time. 

The  appearance  of  the  boats  was  the  signal  for  a  grand  rush  to  the 
bridge,  but  it  was  kept  clear  of  all  spectators  save  newspaper  men  and 
other  privileged  persons.  The  President,  still  surrounded  by  his  at¬ 
tendants  and  the  foreign  officials,  mounted  the  steps  that  led  to  the 
bridge.  He  was  followed  by  a  long  cortege  of  distinguished  persons 
from  every  walk  in  Parisian  and  European  life.  This  procession  slowly 
proceeded  across  the  bridge,  while  the  Russian  band  at  one  end  and  the 
French  band  at  the  other  alternated  in  playing  the  national  airs  of  all 
countries,  those  of  Russia  and  France  prevailing. 

“America”  was  played  as  Mr.  Peck,  the  American  Commissioner, 
and  his  staff  crossed  the  bridge  and  joined  the  President’s  party.  The 
air  was  caught  up  by  thousands  of  Americans  in  the  crowd. 

The  Russian  band  was  greatly  applauded  and  made  to  repeat  sev¬ 
eral  of  its  selections  two  or  three  times.  At  the  close  of  the  Russian 


THE  PARIS  EXPOSITION. 


ii4 

hymn,  President  Loubet’s  carriage  stood  waiting  at  the  end  of  the 
bridge,  but  he  did  not  take  it,  but  continued  walking  down  the  magni¬ 
ficent  Avenue  Nicholas  Second,  toward  the  Fine  Arts  Building.  His 
splendid  guard  of  cuirassiers  went  clanking  along  a  few  steps  behind 
him.  Soon  he  headed  the  immense  procession  that  struggled  through 
the  Champs  Elysees  toward  the  Elysee  Palace,  and  it  was  in  this  beau¬ 
tiful  open  space  that  he  received  the  most  rousing  reception  of  the  day 
from  the  people,  for  he  had  created  a  profound  popular  impression  by 
the  announcement  that  all  military  and  naval  prisoners  had  been  par¬ 
doned,  and  that  a  ration  of  wine  had  for  the  day  been  granted  to  all 
soldiers  and  sailors. 

Contrary  to  the  rule  which  had  prevailed  at  former  Exposition 
openings,  the  public  was  excluded  from  the  Exposition  grounds,  sup- 
posably  for  certain  state  reasons.  Of  the  place  of  the  United  States  in 
the  Exposition,  Ambassador  General  Horace  Porter  said : 

“The  present  French  Exposition  will  attract  even  greater  interest 
than  any  previous  effort  made  in  Paris  to  display  before  the  world  the 
products  of  the  various  nations.  Every  government  of  any  importance 
will  be  represented,  and  in  the  way  of  sight-seeing  and  the  gathering  of 
general  information  a  visit  to  it  will  be  equal  to  making  a  tour  of  the 
world. 

“Owing  to  the  broad  views  and  the  public  spirit  early  manifested  by 
President  McKinley  regarding  this  enterprise,  and  to  the  liberality  of 
Congress  in  providing  means  for  organizing  a  creditable  and  attractive 
American  section,  our  country  has  secured  a  representation  which  will 
arouse  universal  interest.  The  increase  in  our  commerce  with  Eu¬ 
ropean  nations  which  will  result  in  this  systematic  and  extensive  display 
of  products  will  without  doubt  enlarge  our  foreign  trade  to  such  a 
marked  degree  that  the  country  will  be  repaid  many  times  for  the  wise 
expenditures  authorized  bv  the  Government. 


YTHE  EIFFED  TOWER  AND  THE  PARK  OF  THE  TROCADERO. 


EXPOSITION  SITE  AND  GENERAL  PLAN. 


117 


'‘The  friendly  intercourse  which  will  take  place  between  prominent 
and  influential  people  from  all  lands  will  do  much,  it  is  trusted,  to  bring 
about  better  understandings  between  the  countries  and  to  foster  that 
good  will  which  is  so  necessary  among  nations  in  securing  an  era  of  har¬ 
mony  and  peace.” 

United  States  Commissioner  General  Ferdinand  W.  Peck  said: 
“The  exhibits  of  the  great  international  exposition  inaugurated  to-day 
reflecting  the  arts,  sciences  and  industries  of  the  present  age  will  be  an 
achievement  of  heretofore  unequaled  perfection.  At  no  other  similar 
event  have  the  nations  of  the  world  so  elaborately  and  ambitiously  par¬ 
ticipated.  While  artistic  architectural  effects  are  not  lacking,  and  the 
ensemble  of  the  buildings  and  gardens  will  be  brilliant,  yet  this  exposi¬ 
tion  will  be  most  noted  for  the  exhaustiveness  of  its  exhibits  and  for  the 
intelligence  of  their  arrangement  and  the  beauty  of  their  instalation. 

“A  gold  medal  at  Paris  in  1900  will  be  a  trophy  of  which  any  exhib¬ 
itor  may  be  proud.  It  will  mean  supremacy  over  the  best  mankind  can 
accomplish.  The  United  States  will  be  represented  by  the  largest  num¬ 
ber  of  exhibitors  of  any  foreign  nation,  and  the  awards  for  which  our 
jurors  will  struggle  will  be  a  test  of  the  quality  of  our  representation  and 
will  evidence  the  rewards  of  our  achievements.” 

The  following  is  a  table  of  exhibitors  which  speaks  eloquently  of 
American  enterprise :  France,  30,000 ;  United  States,  6564;  Belgium, 
2500;  German,  2000;  Italy,  2000;  Russia,  1500;  Scandinavia,  1400; 
Austria,  1000;  Great  Britain,  600;  the  British  colonies,  600. 

America  had  three  times  the  number  of  exhibitors  that  France  had 
at  the  World’s  Fair,  in  Chicago.  She  occupied  329,052  square  feet,  with 
her  forty-seven  distinct  exhibition  spaces,  thirty-three  in  the  main  Ex¬ 
position  grounds,  fourteen  in  the  Vincennes  annex,  excluding  the 
ground  covered  by  our  eagle,  surmounting  the  national  pavilion  on  the 
Quai  D’Orsay. 


THE  PARIS  EXPOSITION. 


118 

In  locating  and  getting  a  clear  understanding  of  the  general  plan 
of  the  Exposition,  the  river  Seine  becomes  an  important  feature.  It  is 
a  great  canal  rather  than  river,  and  passes  through  the  Exposition 
grounds  in  a  westerly  direction,  with  its  banks  of  solid  masonry  support¬ 
ing  wide  quays  on  which  many  massive  public  and  private  buildings 
stand,  and  with  its  numerous  bridges  of  splendid  architecture.  On  the 
north  or  right  bank  of  the  Seine,  where  it  is  crossed  by  the  Concord 
bridge,  is  what  may  be  termed  the  geographic  centre  of  the  city.  This  is 
the  Place  de  la  Concorde  (Concord  Place)  whose  southern  front  is  upon 
the  river,  and  which  passes  north  with  its  richly  verdure-clad  sweep  to  the 
street  Rivoli.  On  the  east  of  this  magnificent  square  is  the  no  less  mag¬ 
nificent  guarden  of  the  Tuileries,  extending  back  to  the  palace  of  the 
Louvre.  On  the  west  side  lies  the  beautiful  Champs  Elysees,  a  series 
of  exquisite  small  parks  which  are  intersected  by  the  most  magnificent 
avenue  in  the  world,  the  Avenue  Champs  Elysees.  This  avenue  which 
enters  the  Place  de  la  Concorde  half-way  back  from  the  river,  formed  the 
northern  boundary  of  the  exhibition  grounds  at  this  point,  all  the  space 
between  it  and  the  river  and  between  the  Place  de  la  Concorde  and  the 
Avenue  Autin  and  Bridge  of  Invalids,  being  devoted  to  Exposition  pur¬ 
poses. 

The  monumental  gateway  fronting  the  Place  de  la  Concorde  was 
the  main  entrance  to  the  Exposition.  Of  course  there  were  many  other 
entrances.  This  monumental  gateway  was  in  itself  an  architectural  rev¬ 
elation  and  an  earnest  of  what  the  visitor  might  expect  when  once  be¬ 
yond  its  portals.  It  was  designed  to  be  a  type  and  epitome  of  the  Ex¬ 
position  itself,  and  was  built  in  an  entirely  new  and  original  style,  so  as 
to  present  a  rich  harmony  of  colors,  the  predominating  ones  being  blue, 
green  and  gold.  Three  large  arches  touching  one  another  at  the  base, 
and  joined  as  they  ascended  by  delicate  open  work,  supported  a  central 
cupola,  exquisitely  gilded  and  rising  to  the  height  of  125  feet.  The 


EXPOSITION  SITE  AND  GENERAL  PLAN. 


largest  of  these  arches  faced  the  Place  de  la  Concorde.  On  its  face  over 
the  arch  it  bore  the  Ship  of  Paris,  and  was  surmounted  by  a  gilded  statue 
of  the  city,  dressed  in  modern  robes  and  head-dress.  The  pilasters  sur¬ 
rounding  the  bases  of  the  arches  supported  magnificent  friezes  in  free¬ 
stone,  by  distinguished  sculptors,  and  the  niches  back  of  the  principal 
gateways  were  decorated  with  paintings  and  statuary.  On  either  side 
of  the  front  of  the  building  stood  two  graceful  pillars  mounted  with  lum¬ 
inous  globes,  and  all  around  were  numerous  masts  decorated  with  the 
flags  of  all  nations.  The  structure  was  magnificently  lighted  at  night 
by  means  of  eight  powerful  reflectors  concealed  in  the  Place  de  la  Con¬ 
corde.  The  public  entered  through  the  great  arch  and  then  dispersed 
into  the  grounds  through  the  two  side  arches,  after  having  passed 
through  one  of  the  seventy-six  turnstiles,  thirty-eight  on  each  side.  By 
this  ingenious  and  swiftly  working  arrangement,  60,000  people  could  be 
admitted  in  an  hour. 

Once  within  the  grounds,  the  visitor  found  himself  in  a  section  of 
the  Exposition  devoted  to  flowering  plants  and  shrubs,  and  which 
formed  a  part  (Class  46)  of  the  Horticultural  and  Arborcultural  group, 
provided  elsewhere  with  special  buildings.  This  section  extended  from 
the  Place  de  la  Concorde  down  to  the  Bridge  of  Invalids,  encircling  the 
two  palaces  of  Fine  Arts  and  the  Music  Kiosk  and  bordering  on  both 
sides  the  newly  laid  out  Avenue  Nicholas,  named  in  honor  of  the  reign¬ 
ing  Czar  of  Russia.  The  section  had  further  additions,  as  parts  of  the 
Exposition  general,  in  the  Place  of  Invalids  and  the  Champ  de  Mars. 
It  was  filled  with  every  description  of  plant  and  flower  in  season,  ar¬ 
ranged  in  beds  and  borders  with  consummate  artistic  effect,  and  its 
myriads  of  leaf  plants  and  aromatic  shrubs  imparted  freshness  and  fra¬ 
grance  to  the  air.  It  was  noticeable  throughout  the  entire  Exposition 
spaces  that  the  managers  had  seized  upon  all  the  remnants  of  ground 
that  had  escaped  the  attention  of  builders,  or  were  not  needed  for  esplan- 


THE  PARIS  EXPOSITION. 


156 

ades  and  avenues,  and  had  devoted  them  to  shrubs  and  flowers  and 
trees,  in  order  to  furnish  visitors  with  natural  delights. 

Skirting  the  river,  as  it  passes  by  this  enchanting  section,  is  the 
Quai  de  la  Conference  (Conference  Quay).  Along  this  quay,  and  ex¬ 
tending  on  both  sides  of  the  new  Alexander  Bridge,  was  another  section 
(Class  45)  of  the  Horticultural  and  Arborcultural  group,  devoted  to 
Fruit  Trees.  Here  appeared  fruit  trees  of  every  kind,  trained  and 
clipped  in  approved  manner,  and  fitted  to  trellises  of  fantastic  design, 
the  whole  an  epitome  of  the  arborculture  in  which  France  excels.  It 
must  not  be  forgotten  that  the  two  section  just  mentioned  represented 
but  two  classes  of  the  great  Horticultural  group,  other  classes  of  the 
group  appearing  at  places  where  soil  and  exposure  formed  essentials  to 
growth,  or  where  peculiar  growths  assisted  landscape  features. 

In  further  study  of  the  site  and  plan  of  the  Exposition  as  limited 
to  the  grounds  of  the  Champs  Elysees,  notice  must  now  be  taken  of  an¬ 
other  new  monumental  structure,  designed  to  be  a  permanent  contribu¬ 
tion  to  the  city’s  convenience  and  beauty.  This  is  the  Pont  Alexandre 
III  (Alexander  III  Bridge).  It  is  situated  at  a  point  a  little  more  than 
half-way  between  the  Bridge  of  Concord  and  Bridge  of  Invalides,  being 
nearer  the  latter  than  the  former.  Its  south  end  is  directly  upon  the 
beautiful  esplanade  of  Invalides,  and  its  north  end  at  a  point  nearly  in 
the  middle  of  the  grounds  of  the  Champs  Elysees.  To  give  it  an  open¬ 
ing  on  the  Grand  Avenue  of  Champs  Elysees,  a  short  avenue  was  con¬ 
structed  from  its  northern  end  through  the  Champs  Elysees  grounds, 
nearly  bisecting  them.  This  avenue — Nicholas  II  Avenue,  in  honor  of 
the  Russian  Czar — was  superbly  fashioned  as  an  approach  to  the  bridge, 
which  is  not  only  the  sole  monumental  bridge  of  Paris,  but  a  stupendous 
illustration  of  the  latest  scientific  developments,  and  a  masterpiece  of  al¬ 
legorical  art.  It  is  of  a  span  approximating  400  feet,  and  133  feet  in 
width.  The  corner  stone  was  laid  by  Czar  Nicholas  in  1897,  and  the 


fcXPOSITION  site  and  general  plan. 


tu 

work  completed  in  1899.  The  structure  solemnized  the  alliance,  or  cor¬ 
dial  intent,  between  France  and  Russia.  It  is  named  Bridge  of  Alex¬ 
ander  III,  in  honor  of  the  late  Czar  of  Russia. 

On  either  side  of  the  new  Avenue  Nicholas  II,  and  in  the  midst  of 
the  grounds  of  the  Champs  Elysees,  stand  the  two  newly  erected  palaces 
of  Fine  Arts,  both  designed  to  be  permanent  contributions  to  the  city’s 
architectural  beauty  and  artistic  taste.  The  larger  one  (Grand  Palace) 
is  on  the  west  side  of  the  avenue.  For  the  year  1900,  and  for  the  .purposes 
of  the  Exposition,  it  was  devoted  to  the  French  and  the  international  art 
of  the  nineteenth  century,  but  after  that  would  be  used  for  the  purposes 
of  the  great  annual  art  exhibitions.  The  smaller  (Petit  Palace)  palace 
stands  on  the  east  side  of  the  avenue,  facing  the  former.  It  is  devoted 
to  French  retrospective  art,  that  is  to  pictures  representing  the  historic 
growth  of  art  in  France.  Both  these  buildings  furnish  fine  architectural 
attractions.  The  stately  pillars  of  the  larger  one  especially,  that  stand  in 
a  grand  row  around  the  building,  the  noble  statuary,  the  colossal  figures 
that  represent  the  various  arts,  examples  of  which  are  to  be  seen  within, 
the  gorgeous  mosaics,  the  surmounting  dome  of  glass,  present  a  com¬ 
posite  of  striking  beauty  and  brilliancy.  A  crystal  roof  admits  a  flood 
of  light  and  directs  it  at  the  proper  angle  upon  the  art  treasures  of  the 
world. 

Thus  much  for  the  site  and  plan  of  the  Exposition  as  exemplified  in 
the  Champs  Elysees.  A  second  part  lay  across  the  Seine  on  the  south 
side  by  way  of  the  magnificent  Alexander  III  Bridge. 

In  crossing  this  gigantic  structure  one  cannot  fail  to  be  impressed 
with  its  monumental  element,  as  expressed  in  the  four  porches  facing 
up  and  down  the  streams  at  either  end  of  the  bridge.  The  gilded 
groups  surmounting  them  frame  the  vista  from  the  Champs  Elysees  to 
the  glittering  dome  of  the  Hotel  Invalides.  Each  of  these  porches  con¬ 
sists  of  undressed  block  of  echaillon  stone  supporting  a  group  of  four 


122 


THE  PARIS  EXPOSITION. 


Ionian  columns.  From  base  to  summit  it  measures  55  feet  and  is  about 
13  feet  wide.  The  allegorical  group  is  about  17  feet  high,  while  base- 
block  bears  a  stone  statue  with  attributes  in  gilt  and  bronze.  These 
represent  the  four  aspects  of  France:  1.  The  France  of  Charlemagne; 
the  allegorical  group  above  symbolizing  France’s  Fame  in  Fine  Arts 
(Sculptor).  2.  France  of  To-day,  surmounted  by  Fame  in  Science.  3. 
France  of  the  Renaissance,  surmounted  by  France  in  Commerce.  4. 
France  of  Louis  XIV. 

From  the  middle  of  the  Alexander  III  Bridge,  a  superb  view  of  the 
Exposition  could  be  had  on  both  sides  of  the  Seine,  while  on  the  right 
hand  the  great  Palace  of  Fine  Arts,  with  its  fluted  columns  dazzling 
white  against  the  massed  foliage  of  the  Champs  Elysees,  stretched  to 
the  quay  and  along  the  Cours-la-Reine  (Queen’s  Court).  On  the  left 
hand,  or  to  the  south,  and  across  the  Seine,  there  opened  the  vista  of 
the  Esplanade  of  Invalids,  so  full  of  beauty  and  historic  interest,  with  its 
Tomb  of  Napoleon  and  Church  of  Invalids,  its  Artillery  Museum  and 
Museum  of  the  Army,  its  Gallery  of  plans  in  relief  of  the  Ancient  For¬ 
tresses  of  France,  and  at  its  southern  end  the  imposing  Hotel  Invalids, 
an  asylum  for  sick  and  wounded  soldiers,  built  from  1670  to  1674,  and 
capable  of  accommodating  7,000  inmates.  The  garden  of  this  magnifi¬ 
cent  Hotel  Invalids,  opens  from  the  Place  or  Esplanade  of  Invalids,  and 
continues  the  latter  to  the  Hotel.  But  the  Esplanade  was  temporarily 
narrowed  to  less  than  a  third  of  its  width  by  the  grand  Palaces  on  either 
side,  erected  for  the  purposes  of  the  Exposition  of  1900,  the  Esplanade 
of  Invalids  constituting  Part  II  of  the  general  Exhibition  Plan. 

One  had  now  to  pass  from  the  Alexander  III  Bridge  directly  into 
the  Esplanade  in  order  to  view  the  Grand  Palaces  of  the  Exposition 
which  lined  its  sides.  Those  on  the  left  side,  or  rather  the  one  on  the 
left  side,  for  one  has  to  conceive  of  it  as  a  continuous  Palace  divided 
into  at  least  two  minor  Palaces,  were  the  Palaces  of  National  Manufac- 


EXPOSITION  SITE  AND  GENERAL  PLAN. 


*23 


tures  and  of  Diversified  Industries.  These  were  devoted  to  French 
exhibits.  The  Palaces  on  the  right  were  devoted  to  the  manufactures 
and  diversified  industries  of  foreign  nations. 

In  their  architecture,  the  Palaces  of  the  left — those  devoted  to 
French  Manufactures  and  Industries — presented  three  symmetrical  parts 
in  harmony  with  the  axis  of  the  Esplanade.  The  first  part,  a  decorative 
facade  parallel  to  the  Seine,  was  connected  with  the  two  others  by  mo¬ 
tives  of  architecture,  circular  porticos  forming  two  entrance  pavilions. 
With  their  pilasters,  their  balconies  and  sculptured  arches,  these  pavil¬ 
ions  were  very  beautiful.  The  part  of  the  Palaces  parallel  to  the  Seine 
was  likewise  terminated  by  pavilions,  surmounted  by  open  domes,  de¬ 
signed  to  give  light  to  the  upper  story.  In  order  to  enlarge  the  space 
for  exhibits,  the  greater  part  of  the  Palaces  of  1900  were  built  with  a 
ground  floor  and  upper  story,  which  was  the  exception  in  1889. 

On  the  sides  of  the  Esplanade,  the  Palaces  were  divided  in  three 
parts  by  pavilions,  to  each  of  which  corresponded  a  portico  and  a  grand 
terrace,  from  which  the  view  extended  over  the  gardens.  On  the  walls 
at  the  base  of  the  terraces  large  decorative  paintings  had  been  executed 
with  a  novel  and  pleasing  effect.  The  Palaces  terminated  with  a  circu¬ 
lar  portico  giving  access  to  a  monumental  stairway  connecting  them 
with  the  higher  buildings  on  the  Street  Grenelle  immediately  adjoining. 

In  these  last  Palaces,  symmetrical  without  exact  resemblance,  the 
ground  floors  were  lighted  from  the  side,  but  also  received  daylight  from 
open  spaces  in  the  floor  above.  These  edifices  were  glass  covered  above 
and  offered  a  succession  of  open  galleries  and  vestibules.  This  double 
series  of  Palaces  was  devoted  to  Decoration  and  Furniture  of  Public 
Edifices  and  Homes,  which  constituted  Group  XII  (classes  66-75)  anf^ 
to  Diversified  Industries  which  constituted  Group  XV  (classes  ’92-100) 
of  the  general  classification  of  the  Exposition. 


THE  PARIS  EXPOSITION. 


124 

On  the  border  of  the  Street  Grenelle,  the  Palace  of  Furniture  ex¬ 
tended,  presenting,  like  those  of  National  Manufactures,  two  symmet¬ 
rical  parts.  All  the  buildings  of  the  Esplanade  were  built  in  a  space  of 
about  360  feet,  between  the  lines  of  elm  trees  in  groups  of  five  forming 
a  square  which  bordered  it  in  six  rows  on  each  side.  The  avenue  in  the 
middle  was  no  feet  in  width,  that  of  each  of  the  two  lines  of  buildings 
was  126  feet. 

Behind  these  Palaces,  the  spaces  between  the  groups  of  elms  was 
used,  on  the  Street  Constantine  side,  for  annexes  of  groups  12  and  15, 
and  for  the  reconstruction  of  picturesque  houses,  characteristic  of  some 
of  the  French  Provinces,  on  the  Street  Fabert  side,  for  annexes  of  cer¬ 
tain  foreign  exhibitions.  At  night,  each  of  the  two  lines  of  Palaces  of 
the  Esplanade  Invalids  was  lighted  by  1068  incandescent  lamps.  There 
were  many  lamps  in  the  central  walk  and  in  the  groups  of  trees,  making 
in  all  2154  lamps.  This  part  of  the  Exposition,  which  was  a  little  dark 
in  1889,  was  as  brilliant  as  any  in  1900.  The  Palaces  on  the  right  of 
the  Esplanade — those  devoted  to  foreign  exhibits — were  fully  occupied 
by  the  leading  nations,  for  whom  ample  space  had  been  provided. 
Switzerland,  Japan,  Denmark,  Great  Britain,  United  States,  Germany, 
Russia,  Belgium  and  others,  were  vieing  therein  with  their  representa¬ 
tive  objects  to  prove  the  skill  and  accomplishment  of  their  craftsmen. 
Altogether  these  buildings  were  the  place  where  the  business  men  of  the 
world  put  in  hours  crowded  with  instruction  and  insight  into  the  value 
of  the  handicrafts  of  these  people  who  were  contesting  for  the  world’s 
trade.  Here  the  genuine  were  made  known  and  the  spurious  detected; 
here  prices,  as  well  as  workmanship,  were  compared,  for  the  representa¬ 
tives  of  the  various  countries  were  anxious  to  give  all.  information  that 
the  curious  as  well  as  the  searcher  after  knowledge  cared  to  ask  for. 

Passing  out  of  the  Esplanade  Invalids,  and  back  to  Alexander  III 
Bridge,  and  then  looking  again  westward  down  the  Seine,  the  visitors 


NICHOLAS  II.  FROM  BRIDGE  OF  ALEXANDER  III. 


EXPOSITION  SITE  AND  GENERAL  PLAN. 


127 


eye  took  in  Part  III  of  the  Exposition  plan  (parts  III  and  IV,  being 
both  on  the  Seine,  were  generally  classed  as  one  Part).  It  was  the  vista 
of  the  Seine,  the  grand  water  avenue  of  the  Exposition,  extending  from 
the  Bridge  Invalids  to  the  Bridge  Alma.  A  closer  view  of  this  pictur¬ 
esque  sketch  was  had  from  the  Bridge  Invalids.  Here  one  was  com¬ 
pelled  to  choose  one  side  or  other  of  the  river,  in  order  to  make  a  tour 
of  the  Exposition.  But  to  describe  it  as  part  of  the  general  plan,  and 
to  begin  on  the  right,  or  north,  bank  of  the  Seine,  there  was  found  upon 
the  quay,  and  quite  near  to  the  Bridge  Invalids,  the  Pavilion  of  the  City 
of  Paris,  a  composite  structure  typifying  the  metropolis.  Beyond,  upon 
the  quay,  and  extending  back  to  the  Street  of  the  Queen,  stood  the  three 
main,  and  numerous  smaller,  palaces  devoted  to  Horticulture  and  Arbor¬ 
iculture.  These  extended  to  the  Bridge  Alma,  and  completed  the  plan 
as  to  the  right  bank  of  the  river  between  Bridge  Invalids  and  Bridge 
Alma.  The  left,  or  south  bank,  within  the  same  space  was  wholly  occu¬ 
pied  by  the  Street  of  Nations,  the  quay  being  lined  with  Pavilions  con¬ 
structed  by  the  different  nations  for  their  accommodation  at  the  Expo¬ 
sition,  and  as  types  of  their  architecture  and  other  characteristics. 
These  constituted  an  effective  attraction,  and  are  hereinafter  described  in 
detail. 

The  next  part  (Part  IV,  or  the  water  extension  of  Part  III)  of  the 
Exposition  plan  laid  between  the  Bridge  Alma  and  the  grounds  of  the 
Trocadero  and  Champ  de  Mars.  This  was  another  river  vista,  em¬ 
bracing  on  the  right,  or  north,  bank  the  quaint  reproduction  of  Old 
Paris,  and  on  the  left,  or  south,  bank,  that  is,  upon  the  Quay  Orsay,  the 
Mexican  Pavilion,  Press  Pavilion,  Roumanian  Restaurant,  the  Section 
of  Hygiene,  and  the  Military  and  Naval  Exhibits,  the  latter  occupying  a 
vast  Palace  along  the  quay.  In  the  rear  of  this  palace  were  curious 
pavilions  of  several  foreign  nations,  as  Russia,  Great  Britain  and 
Belgium. 


128 


THE  PARIS  EXPOSITION. 


Part  V  of  the  Exposition  plan  embraced  that  section  of  the  Champ 
de  Mars  (Camp  of  Mars)  which  faces  the  Seine  on  the  south  side.  Here 
the  Jena  bridge  crosses  the  river  at  a  point  in  the  centre  of  the  Troca- 
dero  gardens,  on  the  north,  and  those  of  the  Champ  de  Mars,  on  the 
south,  forming  a  beautiful  vista.  But  the  above  named  section  of  the 
Champ  de  Mars,  quite  an  extended  one,  was  practically  severed  from  its 
parent  gardens  in  1889,  by  the  erection  of  the  celebrated  Eiffel  Tower, 
the  most  conspicuous  object  of  the  Exposition  of  that  year.  The 
section  was  specially  laid  out,  and  the  grounds,  of  which  the  Tower  be¬ 
came  a  centre,  are  now  best  designated  by  the  name  of  Eiffel  Tower 
grounds  or  gardens.  The  grounds  (Part  V  of  the  plan)  were  a  lively 
part  of  the  Exposition  of  1900,  abounding  in  a  variety  of  palaces,  pavil¬ 
ions  and  miscellaneous  attractions.  To  the  left  of  the  Tower  they  were 
such  as  the  Panorama  of  the  Tour  of  the  World,  Siamese  Pavilion,  Swiss 
Chalet,  Alpine  Club  Exhibit,  Palace  of  Light,  Palace  of  Costume,  etc. 

Having  passed  southward  through  this  interesting  section,  one 
entered  the  magnificent  grounds  of  the  Champ  de  Mars  proper.  They 
constituted  Part  VI  (Parts  V  and  VI  were  by  some  classed  as  one  part) 
of  the  Exposition  plan.  Here  was  the  chief  ensemble  of  the  great  Expo¬ 
sition.  The  very  large  area  of  the  Champ  de  Mars  was  more  than  two- 
thirds  given  up  to  Exposition  purposes.  On  either  of  its  sides  and 
across  its  entire  rear,  were  erected  palaces,  amazing  in  their  extent  and 
beauty,  leaving  a  central  esplanade  of  walks  and  flowers.  The  first  of 
these  palaces  on  the  left  was  that  of  Mines  and  Metallurgy,  where  the 
working  of  mines  and  the  processes  of  reducing  ores  were  on  exhibi¬ 
tion.  Next  came  the  Palace  of  Textiles  and  Clothing;  and  third  the 
Palace  of  Machinery  with  its  variety  of  engines  and  enormous  boilers 
with  their  gigantic  chimneys. 

At  this  point,  the  magnificent  Palace  of  Electricity  was  erected  di¬ 
rectly  across  the  Esplanade,  bringing  it  to  an  end,  and  connecting  the 


EXPOSITION  SITE  AND  GENERAL  PLAN. 


139 


palaces  on  its  right  and  left.  This  monumental  structure  was  faced  by 
the  brilliant  Castle  of  Waters,  both  of  them  a  revelation  in  electrical 
effects.  But  the  Palace  of  Electricity,  though  it  stood  across  the  Es¬ 
planade  at  its  southern  end,  did  not  occupy  all  the  space  to  spare  there. 
Behind  it  was  a  large  area,  extending  back  to  the  Avenue  Motte  Picquet. 

However,  before  looking  into  this  area  to  see  what  wonders  it  con¬ 
tained,  it  proved  best  to  view  the  palaces  on  the  right  of  the  Champ  de 
Mars.  Opposite  that  of  Mines  and  Metallurgy,  above  mentioned,  stood 
the  grand  Palace  of  Education  and  of  Letters,  Science  and  Arts.  Next, 
to  the  south,  was  the  Palace  of  Civil  Engineering  and  of  Transportation, 
where  appeared  every  civil  engineering  device  and  every  means  of  travel. 
Adjoining  it  was  the  Palace  of  Chemical  Industries,  with  its  laboratories 
and  processes.  These  three  palaces,  corresponding  to  those  on  the 
left,  graced  the  right  side  of  the  Champ  de  Mars,  their  imposing  facades 
overlooking  the  central  Esplanade. 

Now  for  the  section  in  the  r$ar  of  the  Palace  of  Electricity.  Here 
was  one  of  the  largest  and  most  interesting  structures  of  the  Exposition, 
constituting,  with  the  Palace  of  Electricity,  Part  VII  of  the  Exposition 
plan.  It  was  the  Palace  of  Agriculture  and  Foods — products  of  the 
soil  and  the  foods  into  which  they  are  capable  of  being  converted.  This 
little  world  occupied  the  entire  area  between  the  Palace  of  Electricity 
and  the  Avenue  Motte  Picquet,  and  Avenues  Bourdonais  and  Sufferen, 
except  the  two  central  spaces  occupied,  respectively,  by  the  Salon  of 
Honor  and  artistic  Hall  of  Fetes. 

On  leaving  the  Champ  de  Mars,  one  naturally  passed  back 
through  the  Eiffel  Tower  grounds,  on  the  side  of  the  Tower  opposite  to 
that  on  which  entrance  was  made.  This  was  necessary  in  order  to 
comprehend  more  fully  the  variety  a!nd  nature  of  the  attractions  in  which 
these  grounds  abounded.  Here  were  found  the  Morocco  Palace,  Palace 
of  Optics,  Pavilions  of  Ecuador  and  Central  America,  Palace  of  Women. 


THE  PARIS  EXPOSITION. 


Concorama,  Mareorama,  and  a  little  further  on  that  astonishing  astro 
nomical  creation,  the  Celestial  Globe.  Once  again  at  the  river  front  and 
at  the  southern  end  of  the  Jena  Bridge,  one  was  not  yet  quite  ready  to 
cross  it,  for  on  the  quay  to  the  left  stood  an  interesting  structure,  or 
series  of  structures,  belonging  to  Part  V  of  the  Exposition  plan.  It 
was  the  palace  devoted  to  Forestry,  Fishing,  and  Hunting,  containing 
unique  displays  in  great  number  and  of  instinctive  value. 

Now  the  last  of  the  parts  or  sections  of  the  Exposition  plan,  Part 
VIII,  could  be  viewed  and  grasped.  It  laid  across  the  Jena  Bridge,  to 
the  northward,  and  embraced  the  gardens  and  grounds  of  the  Trocadero. 
The  central  object  here  is,  of  course,  the  gorgeous  Trocadero  Palace, 
mounting  high  and  imposing  above  its  many  terraces,  and  overlooking 
buildings  and  landscapes  for  miles.  It  is  a  preservation  of  the  Exposi¬ 
tion  of  1889,  and  in  itself  was  not  so  much  identified  with  the  Exposi¬ 
tion  of  1900  as  were  the  gardens  and  grounds  around  it.  The  slopes 
leading  up  to  the  palace  were  dotted  with  a  variety  of  strangely  con¬ 
structed  buildings,  for  here  was  located  the  section  of  the  Exposition  de¬ 
voted  to  the  exemplification  of  colonization  by  the  different  nations 
having  colonies.  On  the  left  hand,  going  up  the  hill  toward  the  Palace, 
all  the  French  colonies  were  represented  by  various  attractions,  and  on 
the  right,  foreign  colonies  set  forth  their  exhibits. 

The  reader  has  now  passed  over  the  site  and  had  a  view  of  the 
plan  of  the  Paris  Exposition  of  1900.  With  a  fair  understanding  of 
them,  each  of  the  great  palaces  and  points  of  interest  could  be  readily 
and  intelligently  located,  and  to  each  could  be  referred  the  character  of 
displays  which  distinguished  them.  While  the  site  was  as  well  selected 
as  possible,  considering  the  difficulty  of  obtaining  space  in  the  centre  of 
a  populous  city,  and  the  plan  was  logical  in  its  arrangement,  so  that  it 
could  be  comprehended  with  ease,  the  obstacle  of  following  it  up  physi¬ 
cally  was  ever  present,  for  lack  of  contiguity  between  minor  geographic 


UNDER  THE  EIFFEU  TOWER— THE  TROCADERO  IN  THE  DISTANCE. 


EXPOSITION  SITE  AND  GENERAL  PLAN. 


133 


parts  or  sections.  There  could  hardly  be  such  a  thing  as  a  stereotyped 
route  of  the  Exposition.  That  which  came  nearest  to  it,  and  which 
comported  with  the  lines  of  the  plan  above  laid  down,  except  as  to  the 
two  river  vistas  or  sections,  and  the  blending  of  the  Eiffel  Tower 
grounds  and  gardens  with  those  of  the  Champ  de  Mars,  was  mapped  at 
an  early  period  of  the  Exposition  by  one  of  its  distinguished  officials, 
Autonin  Barthelemy.  It  combines  the  value  of  an  intelligent  chart  of 
site  and  plan  with  highly  descriptive  vigor,  and  makes  an  appropriate 
conclusion  to  this  chapter. 

It  runs :  “It  was  a  happy  thought  which  caused  the  organizers  of 
the  Exposition  of  1900  to  lay  the  principal  entrance  close  to  the  Place 
de  la  Concorde,  so  magnificently  designed  by  Gabriel,  and  slightly  to 
the  rear  of  the  Cours  la  Reine.  Here  rises  the  Monumental  Gate,  the 
creation  of  M.  Rene  Binet,  which  M.  Guillot  has  decorated  with  a  frieze 
glorifying  Labor.  Having  passed  the  gateway  the  visitor  traverses  the 
grounds  devoted  to  Horticulture  and  Arboriculture,  and  thus  reaches 
the  Alexander  III  Bridge,  on  each  side  of  which — on  the  right  bank  of 
the  Seine — rise  up  the  Great  and  Small  Palaces  of  Fine  Arts.  The  first 
is  the  work  of  Messrs.  Thomas,  Louvet  and  Deglane,  the  second  that  of 
M.  Girault.  The  larger  edifice  houses  the  Centennial  Exhibition  of 
French  Art,  and  the  Decennial  Exhibition  of  French  and  Foreign  Fine 
Arts;  the  smaller  the  retrospective  exhibition  of  French  Objects  of  Art. 
In  the  large  palace  one  has  an  opportunity  of  admiring  pictures,  sculp¬ 
tures,  engravings,  and  industrial  objects  of  art  created  in  France  between 
1800-1899,  and,  as  a  natural  corollary,  for  our  neighbors  at  least,  artistic 
French  and  foreign  productions  since  1889.  In  the  small  palace  are 
grouped  industrial  objects  of  art,  which  conjure  up  before  one’s  gaze 
the  whole  history  of  travail  on  French  soil  from  the  very  commence¬ 
ment  up  to  the  year  1800.  M.  Roujon,  Director  of  Fine  Arts,  has  en¬ 
trusted  the  care  of  this  Exhibition  to  M.  Emile  Molinier,  Conservator 


7 


134 


THE  PARIS  EXPOSITION. 


of  National  Museums,  and  Professor  at  the  School  of  Louvre,  who  has 
given  proof  of  a  most  remarkable  faculty  of  organization  in  these  deli¬ 
cate  labors,  for  which  his  scientific  accomplishments  specially  marked 
him  out. 

“On  leaving  the  Palace  of  Fine  Arts,  possibly  even  before  entering 
it,  you  make  your  way  to  the  Alexander  III  Bridge,  forty  yards  in 
width,  which  Messrs.  Resal  and  Alby  have  built  across  the  Seine  in  a 
way  reflecting  the  greatest  credit  on  their  science.  The  decorative  work 
of  the  bridge  is  by  Messrs.  Lenoir  and  Michel,  who  have  backed  the 
turret-shaped  pylones  to  the  bridge,  from  the  side  of  the  Cours  la  Reine, 
with  seated  figures  of  France  during  the  Roman  period  and  of  Modern 
France,  Messrs.  Coutan  and  Marqueste  having  executed  figures  of 
France  during  the  Renaissance  and  the  time  of  Louis  XIX  on  the  Es- 
planade  des  Invalides  side.  The  decoration,  a  task  of  no  little  difficulty, 
since  care  had  to  be  taken  not  to  overweight  the  work  of  the  engineers, 
but  only  to  felicitously  mark  its  starting  and  finishing  point,  was  con¬ 
ceived  by  two  architects  of  exceptional  skill,  Messrs.  Cassien  Bernard 
and  Cousin. 

“Now  let  us  go  back  to  the  right  bank  of  the  Seine.  On  the  other 
side  of  the  Pont  des  Invalides  we  find  the  Pavilion  of  the  City  of  Paris, 
in  which  are  grouped  the  different  services  governing  municipal  life. 
Plere  is  the  Street  of  Paris  and  here  also,  for  the  amusement  of  the  vis¬ 
itor,  are  to  be  seen  the  Tzech  Restaurant,  the  Temple  of  Fun,  the  Black 
Cat,  la  Roulette,  les  Bonshommes  Guillaume,  the  Theatroscope,  the 
Cinematophone  and  the  Wonder  Tower.  But  why  all  this  gaiety  cheek- 
by-jowl  with  the  cold  Palace  of  Congresses  and  of  Social  Economy? 

“We  have  now  reached  the  Place  de  l’Alma,  and  if  you  don’t  care 
to  look  at  the  Old  Paris  of  M.  Robida,  which  is  just  facing  us,  you  can 
cross  the  footbridge,  which  M.  Resal  has  thrown  across  the  Seine  by  the 


EXPOSITION  SITE  AND  GENERAL  PLAN. 


*35 

side  of  the  regular  bridge,  and,  turning  to  the  left,  enter  the  Street  of 
Nations,  on  either  side  of  which  you  will  observe  the  Foreign  Pavilions. 

“Some  few  weeks  before  the  opening  of  the  Exhibition  no  more 
fantastic  sight  could  be  imagined  than  this  street,  viewed  at  night  from 
the  opposite  side  of  the  river,  when  its  pavilions,  with  their  vague  con¬ 
tours,  outlined  against  a  moonlit  sky,  looked  for  all  the  world  like  fairy 
scenery.  Here  we  have  Servia,  with  its  cupolas  of  Moslem  design; 
Greece,  which  has  adopted  the  Byzantine  style;  Monaco,  Roumania, 
which  M.  Formige  has  installed  in  a  pavilion,  where  there  is  a  Rouma¬ 
nian  carbaet  with  a  native  orchestra;  Spain,  Bulgaria,  Germany,  Fin 
land,  Norway,  boasting  an  exquisite  pavilion,  with  superposed  galleries, 
and  a  beautifully  designed  spire ;  Belgium,  which  presents  to  us  a  happy 
reproduction  of  the  Audenarde  Town  Hall;  Great  Britain,  which  a  very 
talented  young  architect,  Mr.  Lutyens,  has  vividly  portrayed  in  the 
shape  of  an  English  country  house  of  the  beginning  of  the  17th  century 
— Kingston  House,  to  wit — fitted  up  and  furnished  as  such  a  house 
would  be  at  the  present  day ;  Persia,  which  transports  us,  as  it  were,  into 
the  Medurre  Madershah  Palace  at  Ispahan  ;  Hungary,  in  the  design  of 
whose  pavilion  Messrs.  Balint  and  Jambor  have  associated  themselves 
for  the  purpose  of  combining  in  a  harmonious  whole  the  successive 
styles  peculiar  to  their  country,  from  the  Roman  down  to  the  present ; 
Bosnia-Herzegovina,  Peru,  Austria,  whose  pavilion  has  a  noble  sweep ; 
Portugal,  Denmark,  the  United  States,  Turkey,  and  lastly,  Italy,  rejoic¬ 
ing  in  a  truly  imposing  pavilion.  This  brings  us  to  the  Esplanade  des 
Invalides,  and  we  have  before  us  the  street  terminating  the  perspective  of 
the  famous  gilded  Dome  of  Mansard,  on  each  side  of  which  Messrs.  Tou- 
doire  and  Pradelle,  Esquire,  Larche,  Nachon,  and  Tropey-Bailly  have 
erected  the  palaces  which  contain  the  National  Manufactures,  the  Dec¬ 
orative  Arts  and  the  various  Industries.  On  one  side  of  the  street  are 
the  French  sections,  on  the  other  those  of  the  foreigners,  and  under  the 


THE  PARIS  EXPOSITION. 


136 

trees,  arranged  in  the  form  of  a  quincunx,  the  foreigners  are  variously 
installed;  whilst  the  French,  on  their  part,  show  us  the  Arlesian  House 
(Maison  Arlesienne),  the  Provence  country  house  (Mas  Provencal),  and 
the  Breton  House  (Maison  Bretonne),  quite  a  charming  little  corner  of 
provincial  France. 

“But  we  retrace  our  steps,  to  again  pass  by  the  foreign  pavilions. 
On  the  other  side  of  the  Pont  de  l’Alma,  skirting  the  river,  we  come  to 
the  Mexican  Pavilion,  the  Press  Pavilion,  and  the  Pavilion  of  the  Land 
and  Sea  Forces — or,  in  other  words,  the  science  of  destruction,  ever  on 
the  alert,  ever  advancing,  with  an  eye  solely  to  the  battlefield,  on  which 
international  quarrels  are  decided — and  then  to  the  Department  of  Hy¬ 
giene,  which  aims  at  rendering  the  centres  of  human  habitation  more 
favorable  to  the  development  of  health  and  its  preservation.  Strange 
neighbors,  forsooth! 

“We  now  find  ourselves  on  the  Champ  de  Mars.  At  this  point  the 
buildings  are  so  numerous  that  it  would  be  difficult  to  enumerate  them 
all.  They  crowd  upon  the  Eiffel  Tower.  The  Round  the  World  Pan¬ 
orama  elbows  the  State  Registry  and  Domains  and  Manufactures.  The 
Swiss  Chalet  is  appropriately  placed  by  the  side  of  the  Alpine  Club. 
The  Russian  spirits’  exhibit  has  for  neighbors  a  Tyrolese  Chateau,  and 
the  Woman’s  Palace,  in  which  the  ladies  find  displayed  an  array  of  most 
tempting  attractions,  and  which  are  a  resume  of  their  ever-growing 
activity.  In  the  Optical  Palace  you  can,  without  trouble,  and  seated 
most  comfortably  in  a  theatre  specially  constructed  for  the  purpose,  see 
the  moon  thrown  on  to  a  screen  at  a  distance  of  indeed  little  more  than 
a  yard.  The  Mareorama  presents  to  us  the  illusion  of  a  voyage  on  the 
Mediterranean,  with  stoppages  at  Marseilles,  Naples,  Venice  and  Con¬ 
stantinople,  accompanied  by  sea-sickness.  The  Costume  Palace,  which 
is  alongside  the  Angers  slate-quarries,  one  of  the  salient  features  of  this 
part  of  the  Exhibition,  which  further  comprises  the  Pavilions  of  Siam, 


AMERICAN  INDIAN- GRAND  ENTRANCE  AVENUE.  PALACE  OF  RETROSPECTIVE  ARTS— ARMOR  OF 

FRANCIS  T 


EXPOSITION  SITE  AND  GENERAL  PLAN. 


*39 


Morocco,  Ecuador  and  of  the  Republic  of  St.  Marin.  The  foregoing  is 
a  strange  jumble  of  architectural  notes  introductory  to  the  grand  palaces 
on  the  Champ  de  Mars,  designed  by  Messrs.  Henard,  Paulin,  Blavette, 
Hermant,  Raulin,  Sortais,  and  Varcollier. 

*'L  would  like  to  talk  to  you  at  greater  length  and  more  compe¬ 
tently  as  to  the  contents  of  these  various  palaces,  and  would  fain  expa¬ 
tiate  upon  the  mines  and  metallurgy  which  demonstrate,  for  instance,  in 
a  striking  manner  by  what  remarkable  discoveries  scientists  have  signal¬ 
ized  the  century  which  has  flown.  I  would  likewise  descant  upon  the 
yarns,  textures  and  wearing  apparel,  which  lend  themselves  to  these 
wonderful  exhibitions,  and  will,  doubtless,  set  you  thinking  when  you 
come  to  see  how  varied  are  the  industries  which  unite  to  clothe  us. 
What  delight,  and,  no  doubt,  sore  temptation  to  the  ladies  when  they 
look  upon  these  cambrics,  muslins,  laces,  guipures,  blondes,  Valen¬ 
ciennes,  English  point,  Mechlin  lace,  Froufrou,  Venetian  point,  Chan¬ 
tilly  or  Angouleme  point,  Genoese  point,  Brussels  or  Auvergne  point, 
or  the  numerous  silks,  satins,  failles,  velvets,  brochees  and  the  like ! 

“Our  fair  friends,  I  suspect,  will  feel  inclined  to  lag  behind,  whilst 
their  fathers,  brothers  or  husbands,  of  a  more  serious  turn  of  mind,  look 
at  the  Machinery  or  Electricity,  that  Fairy  of  the  nineteenth  century 
which  is  not  only  to  be  met  with  in  the  Palace  which  bears  its  name,  but 
all  over  the  Exhibition,  for  the  Monumental  Gate  has  36  arc  and  3,100 
incandescent  lamps,  the  Champs  Elysees’  Garden  174  arc  lamps,  and 
the  Alexander  Bridge  500  incandescent  lamps.  There  are  1,100  in  the 
Waterworks,  5,000  in  the  Palace  of  Electricity  in  addition  to  twelve  arc 
lamps,  4,500  in  the  Salle  des  Fetes  (Hall  of  Fetes),  2,136  in  the  Palais  des 
Invalides  as  well  as  60  arc  lamps  on  its  Esplanade.  In  an  article  in  the 
Paris  Review,  M.  Michel  Corday  described  how,  underneath  the  foun¬ 
dation  even  of  the  Waterworks — which  is  intended  to  utilize  the  water 
before  sending  it  to  the  motors,  and,  at  the  same  time  lend  itself,  thanks 


1 4© 


THE  PARIS  EXPOSITION. 


to  the  electric  light,  to  color  effects— there  is  a  gallery  which  is  forbid¬ 
den  to  the  profane.  ‘Fixed  to  the  wall  are  two  boards,  twenty-four 
yards  long,  studded  with  apparatuses  for  direction,  control  and  safety. 
It  is  a  veritable  junction,  similar  to  what  we  see  as  we  approach  the 
large  terminus  of  a  railway,  where,  by  means  of  a  switch-board,  trains 
are  turned  on  to  their  proper  rails.  Here  it  is  the  current  which  is 
switched  on  to  the  wires.  From  this  network,  which  is  carefully  cov¬ 
ered  with  India-rubber,  the  current  radiates  in  all  directions,  glides 
under  the  boards  of  the  galleries,  bifurcates,  disperses,  divides,  extends, 
crosses  the  river  and  transmits  its  beneficent  electrical  energy  to  the 
uttermost  points  of  the  Exhibition.’ 

“It  must  be  admitted  that  M.  Henard,  architect  of  the  Palace  of 
Electricity,  was  not  set  an  easy  task.  In  point  of  fact  he  was  called  upon 
to  design  a  palace,  but  with  due  regard  to  the  fact  that  its  lower  part 
would  be  hidden  by  the  Waterworks  of  which  we  have  just  spoken. 
‘After  numerous  sketches,’  as  M.  Antonin  Proust  has  told  us,  ‘M. 
Henard  submitted  to  the  Direction  of  Department  of  Agriculture,  and 
obtained  its  approval  of,  the  design  we  now  see.  It  consisted  of  raising 
the  central  hall  of  the  Palace  of  Electricity  in  such  a  way  as  to  give  it 
the  necessary  height  to  be  seen  behind  the  Waterworks,  and  of  crown¬ 
ing  the  facade  thus  obtained  by  a  coping,  or  crest,  of  a  special  trefoil  de¬ 
sign,  surmounted  by  a  group  symbolical  of  electricity.  By  daylight  this 
coping,  or  crest,  is  intended  to  be  outlined  against  the  sky  like  lacework 
of  metal  and  glass,  by  night  like  lacework  of  fire.  An  enormous  sun, 
of  glass,  radiates  behind  the  statue  of  Electricity.  The  latter  is  borne 
in  a  chariot  drawn  by  two  allegorical  animals,  the  one,  Pegasus,  person¬ 
ifying  the  poetry  of  science,  the  other,  a  dragon,  symbolical  of  material 
strength.  Millions  of  electric  lamps,  of  changing  colors,  are  made  to 
vary  the  color  and  aspect  every  instant  of  this  luminous  crest.  All  the 


EXPOSITION  SITE  AND  GENERAL  PLAN. 


141 


resources  of  modern  electric  lighting  are  brought  into  requisition  to 
impart  to  the  whole  a  flood  of  fairy  light.’ 

“Have  you  sufficient  strength  left  to  hackle’  Agriculture  and  Food¬ 
stuffs?  The  former  has,  so  to  speak,  been  created  in  the  course  of  this 
century.  The  latter,  with  its  wines  and  brandies,  beers,  liqueurs,  farina¬ 
ceous  products,  bread,  pastry,  and  confectionery,  preserved  meats,  fish, 
vegetables,  and  fruit,  is  the  veritable  realm  of  Pantagruel.  Neverthe¬ 
less,  the  Chemical  Industries  invite  our  attention  also.  They  comprise, 
my  dear  ladies,  perfumes,  soaps,  toilet  waters,  scented  oils,  pomades, 
perfumed  essences,  scent-bags,  extracts,  and  scented  waters,  perfumed 
powders,  tooth-paste,  toilet  vinegar,  face-powder,  face-paint,  hair-dyes, 
etc.,  etc.  They  include,  gentlemen,  tobaccoes,  against  which  not  a  few 
reproaches  have  been  levelled,  though,  possibly,  none  so  original  as  that 
of  the  Turkish  author,  who  lived  in  the  year  1640,  and  complained  that 
the  excessive  use  of  the  narcotic  weed  on  the  part  of  idle  and  worthless 
fellows  prevented  people  in  heaven  from  seeing  one  another  in  conse¬ 
quence  of  the  clouds  of  smoke  that  rose  up. 

“We  now  enter  a  part  of  the  Exhibition  which  cannot  fail  to 
awaken  more  than  ordinary  interest,  I  allude  to  the  Art  of  Printing,  with 
its  processes  and  machinery,  Sciences  and  Arts,  Education  and  Instruc- 
^  tion.  Without  going  into  detail  it  may  safely  be  said  that  printing  has 
been  wonderfully  perfected,  not  merely  since  the  time  when  Louis  XII. 
declared  that  printing  was  one  of  the  blessings  of  Providence,  but  even 
during  the  period  which  the  Exhibition  is  designed  to  summarize  and 
celebrate.  Photography  is  an  art,  and  photographers  render  very  great 
services,  not  merely  because  they  preserve  our  features  to  posterity,  but 
because  they  furnish  the  scientist  the  aid  of  which  he  stands  in  need. 
One  of  the  most  interesting  triumphs  of  the  century  is  the  art  of  pho¬ 
tographing  in  colors. 


142 


THE  PARIS  EXPOSITION. 


“It  is  almost  superfluous  to  point  out  the  improvements  effected  in 
the  publishing  trade  which,  while  it  has  not  neglected  the  more  fanciful 
editions,  has  made  it  a  point  of  popularizing  the  works  of  the  best  au¬ 
thors  by  cheap  and  handy  publications. 

“The  Chartography  Department  demonstrates  the  interest  now 
taken  in  the  study  of  geography.  The  striking  progress  made  in  the 
course  of  the  century  in  medicine  and  chirurgy  is  manifest  in  the  depart¬ 
ments  consecrated  to  these  two  sciences.  The  Department  of  Dramatic 
Entertainment  affords  some  idea  of  the  infinite  care,  study  and  expense 
underlying  the  pleasures  we  so  lightly  enjoy  at  the  theatres.  We  now 
turn  to  Teaching  and  Education,  those  knotty  problems  which  have  so 
puzzled  the  brains  of  this  century,  and  the  solution  of  which,  in  France 
or  out  of  France,  has  yet  to  be  found.  Primary  education  alone  is  re¬ 
sponsible  for  a  multiplicity  of  doubtful  questions;  at  the  present  mo¬ 
ment  we  are  called  upon  to  grapple  more  particularly  with  the  organiza¬ 
tion  of  secondary  education,  having  due  regard  to  the  fact  that,  no 
longer  the  preserve  of  a  favored  coterie,  secondary  education  claims  its 
disciples  among  ever-widening  circles  aspiring  to  a  higher  intellectual 
culture.  The  development  of  superior  education  involves  no  less  vital 
interests.  There  is  also  the  education  of  girls,  which  the  Third  Repub¬ 
lic  justly  claims  the  credit  of  having  organized.  Nor  is  this  all.  There 
is  artistic  education,  that  is  to  say  particularly  the  arts  of  draughtsman¬ 
ship.  Drawing  is  rightly  taking  an  important  place  with  the  nations, 
who  are  beginning  to  understand  that  it  is  not  less  necessary  to  be  able  to 
draw  pictures  of  objects  than  signs  of  words.  Then,  again,  we  have  the 
instruction  in  agriculture  as  a  specialty,  and  technical  education,  that  is 
to  say,  industrial  and  commercial  instruction,  the  benefits  of  which, 
when  intelligently  organized,  are  so  apparent  in  Germany. 

“But  time  presses;  we  must  return  to  the  Jena  Bridge,  stopping  for 
a  moment  at  Commercial  Navigation,  Forests,  Ffunting,  Fisheries  and 


EXPOSITION  SITE  AND  GENERAL  PLAN. 


143 


Crops,  at  either  side  of  the  bridge  on  the  river  banks,  which  have  been 
installed  by  Messrs.  Tronchet  and  Rey.  Upon  the  slopes  of  the  Troca- 
dero  rise,  terrace-like,  on  the  one  hand  the  Foreign  and  on  the  other  the 
French  Colonial  edifices.  Here  we  have  a  living  picture,  so  to  speak, 
of  the  titanic  task  undertaken  by  Europe,  the  responsibilities  it  involves, 
the  problems  it  raises.  There  are  other  things  of  interest  on  the  slopes 
of  the  Trocadero;  a  good  deal  is  being  said  of  the  wonders  of  Andalusia 
in  Moorish  times.  Japan  and  Asiatic  Russia  also  have  their  pavilions 
here. 

“It  would  be  vain  to  undertake  to  enumerate  all  the  marvels  which 
this  part  of  the  Exhibition  contains.  Dazzled,  fatigued,  but  properly 
proud,  our  visitor  will  then  leave  the  Exhibition  by  way  of  the  Troca¬ 
dero  Palace,  after  having  inspected  the  Museum  of  Comparative  Sculp¬ 
ture,  one  of  the  most  happy  creations  of  the  Third  Republic.  I  say 
properly  proud,  because  I  think  it  impossible  to  behold  the  varied  spec¬ 
tacle  without  some  perception  of  the  grand  work  acomplished  by  hu¬ 
manity  in  the  course  of  this  century.  The  Exhibition  of  1900  consti¬ 
tutes,  so  to  say,  the  stock-taking  of  the  nineteenth  century.  On  the 
threshold  of  a  new  era,  the  nations  were  convoked  to  a  peaceful  demon¬ 
stration  of  the  progress  realized  by  the  human  intellect  in  a  period  dis¬ 
tinguished  beyond  all  others  by  its  fecundity. 

“It  is  something  to  think  that  for  six  months  the  most  diverse,  the 
most  dissimilar  peoples,  will  collaborate  in  the  same  undertaking,  that 
they  will  learn  to  know  each  other  better,  and  that  the  solidarity  of  the 
human  race  must,  perforce,  benefit  by  the  new  associations  which  the 
Government  of  the  French  Republic  has  had  the  proud  privilege  of 
creating.  Was  ever  more  admirable  spectacle  presented  to  the  intelli¬ 
gent  curiosity  of  the  world?  A  whole  town  has  been  erected  in  which 
Letters,  Arts,  Sciences,  Industry,  and  Commerce  have  accumulated  their 


144 


THE  PARIS  EXPOSITION. 


riches.  Not  a  step  in  advance  but  what  is  registered  here,  not  a  prob¬ 
lem  to  whose  solution  the  Exhibition  of  1900  does  not  contribute. 

“But  let  us  not  praise  too  much.  Barrow  says  that  the  same  He¬ 
brew  word  signifies  ‘to  applaud’  and  also  ‘to  render  overweening  or 
mad.’  We  will  not  push  our  satisfaction  to  so  dangerous  a  limit.  But 
let  us  recognize  with  joy  that  the  Exhibition  of  1900  is  an  act  of  faith,  a 
manifestation  of  the  ideal,  and  of  our  belief  in  the  perfectibility  of  the 
human  race,  and  this  is,  we  think,  the  highest  that  can  be  said.” 


Education. 


ROM  the  terraces  of  the  Trocadero  park  on  the  north 
side  of  the  Seine,  or  from  the  top  of  the  Trocadero 
palace,  a  notable  architectural  monument  of  the  Ex¬ 
position  of  1878,  which  survived  as  a  permanent 
museum,  and  readily  lent  itself  to  exposition  uses  in 
both  1889  and  1900,  one  looked  southward,  with  a  sense  of  rapture, 
across  the  beautiful  Iena  Bridge  and  beneath  the  grandly  sweeping 
arches  of  the  Eiffel  Tower,  into  the  magnificent  area  of  the  Champs  de 
Mars,  which,  for  the  time  being,  had  surrendered  its  wonted  devotion  to 
military  manoeuvres  to  become  the  largest  architectural  centre  and  seat 
of  the  most  numerous  exhibits  of  the  Exposition  of  1900.  Having 
taken  in  this  spacious  view,  and  understood  the  exact  lay  of  the  Champ 
de  Mars  grounds,  one  passed,  with  some  degree  of  confidence,  across 
the  Iena  Bridge,  and  through  the  exquisitely  laid  out  and  beautifully 
planted  spaces  surrounding  the  Eiffel  Tower,  to  the  Champ  de  Mars, 
now  a  point  of  destination,  because  the  search  was  for  the  Palace  which 
contained  the  exhibits  devoted  to  the  cause  of  Education  and  Instruc¬ 
tion. 

Let  it  be  understood  that  the  Champ  de  Mars  had  surrendered  two- 
thirds  of  its  120  acres  to  Exposition  purposes — a  third  of  its  width  on 
the  right  (west)  or  Suffren  Avenue  side  for  its  full  length,  and  a  third  of 
its  width  on  the  left  (east)  or  Bourdonnais  Avenue  side  for  its  full 
length,  leaving  the  charming  space  between  to  represent  the  Champ  de 
Mars  in  diminished  form  as  to  space,  but  in  heightened  feature,  if  that 
were  possible,  as  to  landscape  and  flowering  effects.  These  surrendered 

sides  areas  of  the  Champ  de  Mars,  had  become  ornamented  with  majestic 

*45 


146 


THE  PARIS  EXPOSITION. 


palaces  of  striking  architectural  designs  and  vari-colored  effects,  their 
fronts  overlooking  the  central  Champ,  as  if  an  embowered  and  perfumed 
court,  or  as  if  still  a  magnificent  esplanade,  whose  proportions  had 
yielded  temporarily  to  the  glories  of  a  special  holiday  occasion. 

At  the  very  entrance  to  the  Champ,  and  upon  the  right  hand,  one 
found  the  oject  of  pursuit  in  the  form  of  the  imposing  palace  devoted  to 
Education  and  Instruction,  and  to  Letters,  Sciences  and  Arts.  The  lo¬ 
cation  was  one  which  fortunately  afforded  two  facades  or  fronts,  one 
overlooking  the  Champ  de  Mars,  the  other,  on  the  north,  separated  by 
a  charmingly  variegated  space  from  the  Palace  of  Optics  (Palais  de 
TOptique).  The  architecture  of  the  Palace  of  Education  and  Instruc¬ 
tion,  and  of  Letters,  Sciences  and  Arts,  was  composite.  The  word 
“composite”  must  not  be  understood  here  in  its  technical  architectural 
sense,  but  in  that  general  historic  sense  in  which  it  was  made  to  com¬ 
bine,  in  keeping  with  the  spirit  and  purpose  of  the  entire  Exposition, 
the  architecture  of  almost  every  period.  The  general  effect  was  not 
describable  in  architectural  language,  but  to  the  untutored  eye  and  sense 
of  the  casual  observer  it  was  strikingly  fantastic.  The  large  balconies, 
profusely  ornamented  with  figures,  were  suggestive  of  the  interior  of  a 
theatre.  At  the  main  entrance,  on  the  side  fronting  the  Palace  of  Op¬ 
tics,  was  an  immense  porch  something  in  the  nature  of  a  gigantic  sea- 
shell,  as  if  even  old  Neptune  had  felt  moved  to  mingle  his  gratuities  with 
those  of  dry-land  denizens.  On  either  side  of  this  porch  were  two  stately 
cupolas,  or  domes,  richly  adorned  in  reliefs,  mosaics,  panels  and  rose 
windows,  the  effect  of  the  whole  being  very  rich  and  wholly  novel. 
Within  this  entrance  and  from  a  highly  ornamented  vestibule  space, 
arose  the  grand  stairway,  above  which  stood  two  magnificent  groups, 
representing  Science  and  the  Arts. 

But  the  chief  entrance  to  the  Palace  was  at  the  corner,  or  angle, 
where  the  west  and  north  facades,  or  fronts,  met.  Here  was  the  grand 


DAHOMEY  VILLAGE. 


EDUCATION. 


*49 


Tower  of  the  structure,  which,  owing  to  its  bold  position  at  an  angle, 
was  impressive  in  outline  and  proportion.  By  its  base  the  entrance 
passed,  through  a  central  porch  surmounted  by  a  campanile,  or  bell- 
tower.  The  porch  was  flanked  by  two  pierced  wings,  each  covered  by 
a  vaulted  dome,  the  whole  effect  being  pleasingly  and  oddly  antique. 
Each  of  the  wings  contained  a  winding  staircase,  of  easy  tread,  by  means 
of  which  the  upper  floors  were  reached. 

Once  within  this  unique  and  palatial  structure,  there  was  danger  of 
getting  bewildered  or  lost,  unless  one  kept  in  view  the  fact  that  the  Ex¬ 
position  was  conceived  and  arranged  on  a  perfectly  methodical  plan, 
brief  study  of  which  enabled  the  visitor  to  move  about  with  confidence 
to  reach  desired  points  with  speed  and  comfort,  and  to  witness  displays 
with  satisfaction.  In  this  respect  the  Exposition  of  1900  showed 
marked  improvement  over  that  in  use  on  any  previous  occasion.  Hith¬ 
erto  it  had  been  the  custom  to  group  and  classify  exhibits  with  reference 
to  their  origin  rather  than  to  their  nature  and  purpose,  with  the  result 
that  while  a  more  imposing  show  was  obtained,  it  was  less  instructive  and 
less  conducive  to  special  comparisons.  For,  in  nine  cases  out  of  ten, 
a  visitor  had  some  special  branch  of  production  to  which  he  desired  to 
devote  attention,  and  by  the  new  scheme  adopted  at  the  Paris  Expo¬ 
sition  greater  facility  was  afforded  for  close  observation  and  study. 
Great  credit  was  due  to  M.  Picard  for  devising  and  putting  in  operation 
the  scheme  by  which  the  multitudinous  exhibits  of  1900  fell  into  readily 
localized  groups,  which  were  again  sub-divided  into  more  highly  spec¬ 
ialized,  yet  readily  accessible  classes. 

Of  the  eighteen  groups  which  embraced  and  exhausted  the  exhibits 
of  1900,  the  very  first  became  the  group  of  Education  and  Methods  of 
Instruction,  an  honorary  place  doubtless  assigned  by  virtue  of  its  im¬ 
portance,  since  the  whole  Exposition  was  on  Education  and  Instruction. 
With  Group  I,  then,  in  mind  as  an  objective,  it  became  easy  for  the  vis- 


THE  PARIS  EXPOSITION. 


itor  to  locate  it  in  the  great  palace  into  which  he  had  made  his  entry,  and 
once  in  the  midst  of  it,  its  classes,  or  sub-divisions  were  readily  found, 
for  all  were  charted  with  plainness  and  accuracy.  The  separate  classes 
of  Group  I  were  numbered  from  i  to  6.  These  classifying  numbers 
were  never  duplicated  in  other  Groups,  but  were  carried  on  consec¬ 
utively  through  each.  Thus  the  figures  representing  the  respective 
classes  of  a  Group,  began  where  those  of  the  preceding  Group  left  off. 

Having  reached  the  desired  Group  in  the  Palace — Group  I,  or  that 
embacing  Education  and  Methods  of  Instruction,  and  having  referred 
to  its  classes,  they  were  found  to  run  thus : 

Class  i.  Training  of  Children — Primary  Education — Teaching  of 
Adults. 

Class  2.  Secondary  Schools  and  Education. 

Class  3.  High  Schools  and  Higher  Education.  Science  Schools. 

Class  4.  Art  Schools  and  Special  Teaching  of  Fine  Arts,  including 
Music. 

Class  5.  Agricultural  and  Forestry  Schools. 

Class  6.  Special  Industrial  and  Commercial  Teaching. 

It  was  natural  to  wish  to  take  the  classes  up  according  to  M.  Picard’s 
order  of  arrangement.  Therefore,  Class  I  became  an  objective.  An 
ingenious  revolving  floor  carried  one  surprisedly  yet  comfortably  to  the 
second  story  of  the  Palace.  There  is  no  such  thing  as  a  “second  story” 
in  Paris.  It  is  always  the  “first  floor.”  Neither  is  there  such  a  thing  as 
the  “first  story.”  It  is  always  the  “ground  floor.”  Well,  then,  having 
been  thus  revolved  to  the  first  floor  (second  story),  and,  for  that  mat¬ 
ter,  to  the  space  occupied  by  Class  I,  the  “Ecole  Maternelle”  (Infant 
School)  came  into  view — its  class  and  its  playgrounds,  with  its  infinite 
et-cetera  of  toy-like  accessories,  its  heaped  variety  of  supplies  for  attract¬ 
ing  attention  and  for  finger  manipulation,  its  vari-colored  paper  strips, 
nimble  cuttings  and  adjustings  and  plaitings,  and  multitude  of  highly 


EDUCATION. 


151 

toned  and  bewitching  picture-books.  Close  by  was  an  immense  school 
room,  430  feet  square.  This  was  an  exact  reproduction  of  a  real  and 
existent  school,  with  picture  and  map  covered  walls,  its  teachers’  desks, 
scholars’  benches,  books,  plaster  and  clay  models,  blackboards,  and  num¬ 
berless  accessories. 

Then  one  who  had  thus  far  enjoyed  the  animated  display  was  shown 
the  results  of  the  daily  task  performed  in  elementary  schools.  These  re¬ 
sults  embraced  the  monthly  exercise  books  in  infant  composition,  arith  ¬ 
metic,  drawing  and  whatever  had  been  imposed  as  a  duty.  Other  pri¬ 
mary  schools,  of  a  more  advanced  type,  displayed  their  delicate  needle¬ 
work,  lace-work,  embroideries,  mending,  specimens  of  young  house¬ 
keeping.  These  as  to  the  girls,  while  the  boys  exhibited  their  handi¬ 
work  in  wood,  iron  and  whatever  material  they  had  been  called  upon  to 
exercise  their  youthful  skill  and  genius.  Whatever  imperfections — and 
of  course  they  were  many — might  have  appeared  in  these  early  attempts 
were  supplied  or  corrected  by  schools  devoted  to  a  more  special  train¬ 
ing,  whose  exhibits  frequently  gave  evidence  of  extraordinary  mastery 
of  the  craft  exemplified. 

The  teaching  of  adults,  also  a  part  of  Class  1,  was  what,  in  America, 
would  be  knoyvn  as  Normal  School  teaching.  Teachers  of  both  sexes 
therein  showed,  by  exhibits  of  their  best  work  and  best  lectures,  how 
this  select  body  of  educators,  chosen  by  the  members  of  the  Primary 
Teaching  Staff,  was  trained.  Teachers  from  all  quarters  had  sent  in 
plans  of  their  schools,  reports  of  their  methods  of  instruction,  and  pho¬ 
tographs,  many  of  which  were  thought  worthy  to  be  enlarged  for  ster- 
eopticon  purposes,  giving  a  faithful  portraiture  of  school  life  and  activity. 
Hard  by,  was  an  exemplification  of  the  work  of  night-schools,  such  as 
models  and  types  of  the  materials  generally  used  in  them.  Samples  of 
ideal  school  libraries  were  shown,  and  various  institutions  connected  with 
the  workings  of  a  perfect  school  system.  Then,  there  was  shown  an 


THE  PARIS  EXPOSITION. 


152 

infinite  variety  of  modern  school  adjuncts,  such  as  youthful  savings- 
banks,  benefit  societies,  scholars’  associations,  past  and  present,  with  the 
crowning  feature  of  a  cinemetograph  which  reproduced  in  vivid  life¬ 
like  form,  the  manifold  phases  of  popular  education  in  a  village  school — 
the  play-ground,  the  boys  upon  it  bouyant  and  nimble  in  their  games, 
all  except,  perhaps,  the  sad  countenances  of  the  youths  when  the  bell 
rang  the  end  of  the  recess.  Even  the  unofficial,  or  free,  system  of  edu¬ 
cation  in  France  was  exhibited,  and  its  results  placed  side  by  side  with 
those  obtained  under  control  of  the  department  of  Public  Instruction. 

In  contrast  with  this  comprehensive  and  educative  display,  ap¬ 
peared  a  very  suggestive,  instructive  and  quaint  retrospective  collection 
of  exhibits,  comprising  the  old-fashioned  lesson  and  class  book,  engrav¬ 
ings  of  ancient  schools,  pictures  of  pupils  in  their  crude  costumes  of  gen¬ 
erations  ago,  familiar  scenes  in  the  childish  life  of  the  past,  books,  docu¬ 
ments  and  many  other  objects  illustrative  of  antique  school  methods 
and  regimes.  One  particularly  interesting  part  of  this  old-time  display 
was  a  collection  by  M.  Pellison,  exemplifying  the  life  of  school  children 
in  the  16th  century. 

Passing  to  Class  2,  or  that  class  illustrating  the  Secondary  Schools 
and  Education,  much  the  same  general  arrangement  was  found.  One 
was  still  on  the  first  floor  (second  story)  and  contiguous  to  the  spaces  of 
Class  1.  The  first  exhibit  here  seen  was  that  of  the  Ministry  of  Educa¬ 
tion  ;  and  it  is  well  to  understand  that  the  bulk  of  the  educational  exhib¬ 
it  was  contributed,  arranged  and  remained  under  the  auspices  of  this 
Ministry  or  Board.  This  exhibit  (Class  2)  comprised  the  work  of  sec¬ 
ondary  pupils,  their  exercises,  class-books,  compositions,  examination 
papers,  statistics  and  documents.  Then  came  a  series  of  exhibits  by  in¬ 
dependent  exhibitors.  Publishers  made  a  display  of  the  principal 
books  used  in  class-rooms,  and  which  they  had  published  in  their  regu¬ 
lar  course  of  book  production.  Instrument  makers  were  present,  too, 


THE  EIFFEE  TOWER  AT  NIGHT. 


EDUCATION.  *5$ 

with  their  instruments  and  appliances  used  in  school  rooms.  There 
were  fine  collections  of  objects  of  natural  history  to  illustrate  that  branch 
of  teaching,  and  impress  the  subject  in  hand  on  the  mind  of  the  pupil. 
Other  collections  were  there  of  apparatus  and  material  helpful  in  teach¬ 
ing  of  a  scientific  order,  also  vast  displays  of  methods  and  works  con¬ 
nected  with  instruction  in  off-hand  and  mechanical  drawing.  The  dis¬ 
plays  represented,  in  general,  the  official  schools,  school  methods  and 
objects  of  France.  As  a  rule  the  institutions  connected  with  religious 
organizations  failed  to  send  exhibits,  ecclesiastical  teachers  not  wishing 
to  make  a  display  of  their  school  methods  and  appliances. 

This  Class  (2)  embraced  a  very  interesting  exhibit  of  the  three  edu¬ 
cational  establishments  connected  with  the  Legion  of  Honor,  compris¬ 
ing  work  of  various  kind,  done  by  the  pupils,  especially  specimens  of 
needlework  and  embroidery,  which  indicated  marvellous  skill  and 
patience,  and  proved  an  unusual  source  of  interest  to  lady  visitors. 

The  Retrospective  Collection  of  this  class  showed  numerous  and  in¬ 
structive  views  of  old  scholastic  institutions,  reconstitutions  of  the 
dresses  of  collegians  in  ancient  times,  portraits  of  school  teachers  who 
had  won  reputations,  scholastic  documents  of  antique  make-up,  engrav¬ 
ings  representing  features  and  characteristics  of  college  life.  Especially 
striking  was  the  Legion  of  Honor  collection  of  dolls,  representing  the 
ladies  superintendent  of  the  educational  establishments  belonging  to  the 
order  in  their  dresses  of  different  periods  of  time. 

Higher  and  Scientific  Education  was  the  subject  of  Class  3.  It 
embraced  the  objects  and  methods  exemplifying  higher  education  in  its 
various  phases.  A  special  section  dealt  with  important  scientific  insti¬ 
tutions  and  numerous  learned  societies,  their  papers,  and  publications, 
and  the  results  of  various  scientific  expeditions,  such  as  those  for  dis¬ 
covery  and  the  unearthing  of  archaelogical  remains.  The  Mission's 
exhibit  was  a  leading  attraction  of  this  class. 


8 


IS6 


THE  PARIS  EXPOSITION. 


In  order  to  follow  the  classes  of  this  instructive  group  in  their  order 
a  descent  had  now  to  be  made  to  the  ground  floor  (first  story)  of  the 
Palace.  This  was  as  easily  achieved  as  the  ascent  had  been,  for  one  had 
but  to  step  on  the  revolving  floor,  and  soon  a  landing  below  was  effected. 
Here,  in  its  place,  was  found  Class  4  of  the  Group,  (Group  I),  viz.,  that 
dedicated  to  Special  Teaching  of  Fine  Art,  including  Music;  and  in  it 
were  represented  the  great  National,  Departmental  and  Practical 
Schools  of  Artistic  Teaching. 

The  work  in  decorative  art  was  particularly  striking,  evincing  as  it 
did,  the  wonderful  advance  it  has  made  in  late  years.  Each  of  its  several 
exhibits  were  found  to  be  worthy  of  serious  study.  They  contained 
marvels  of  ingenuity,  of  skill,  of  taste,  of  art,  which  were  as  keenly  ap¬ 
preciated  by  the  casual  visitor,  or  general  public,  as  by  the  professional 
artists.  The  French  Conservatories  had  sent,  in  great  number,  their 
pupils,  compositions  and  instruments  suited  to  teaching  purposes.  But 
in  addition  to  this,  and  in  order  not  to  be  behindhand,  the  great  French 
School  of  Music  and  Declamation  had  sent  in  and  placed  on  exhibition 
its  own  special  exhibits.  The  Concert  Room,  in  the  Palace  of  the  Con¬ 
gress,  was  prepared  by  this  great  school  as  the  place  where  its  best  pupils 
in  singing,  instrumental  music,  tragedy  and  comedy  presented,  individu¬ 
ally  and  collectively,  their  productions  to  the  public.  Besides  the  con¬ 
certs  given  there  by  pupil  classes,  and  the  performances  given  before  the 
competitions,  the  performances  of  the  best  pupils  were  repeated,  as  soon 
as  the  prizes  were  distributed,  and  the  cantatas  that  won  the  Harmony 
and  Composition  prizes  were  performed. 

In  the  Centennial  Collection  of  Class  4  were  found  portraits  of  an¬ 
cient  teachers  and  composers,  works  by  illustrious  pupils  of  by-gone 
days,  antique  appliances  specially  designed  for  educational  purposes,  and 
a  history  of  the  School  of  Fine  Arts  from  the  days  of  the  revolution  down 
to  the  present,  set  forth  in  the  form  of  a  chronologically  arranged  ex- 


EDUCATION. 


*57 


hibit  comprising  all  the  works  which  have  won  the  Grand  Prize  of  Rome, 
right  through  the  centuries. 

One  had  to  again  ascend  to  the  first  floor  (second  story)  to  view  and 
study  the  objects  embraced  in  Class  5  of  the  Group.  This  Class  was 
that  devoted  to  Special  Agricultural  Education,  and  it  contained  many 
sub-sections.  In  one  was  found  a  comprehensive  exhibit  of  plans, 
models,  materials,  collections,  and  practical  workings  of  the  Veterinary 
Schools.  In  another  was  exhibited  the  various  appliances,  appurten¬ 
ances  and  practical  workings  of  the  National  and  Practical  Schools  of 
Agriculture.  Both  the  above  sections  were  attended  by  departmental 
and  special  professors,  also  by  professors  of  the  National  Agronomical 
Institute,  who  delivered  lectures,  and  explained  the  practical  working 
of  appliances.  A  most  interesting  accompaniment  of  this  Class  was  the 
Museum  of  Diseases  of  Animals,  belonging  to  the  Veterinary  School. 
While  it  was  a  most  vivid  and  forceful  educational  spot  for  the  enthusi¬ 
astic  student  of  this  useful  science,  it  was  a  regular  Chamber  of  Hor¬ 
rors  for  those  who  were  not  blessed  with  strong  nerves  or  a  dull  imag¬ 
ination.  Another  interesting  museum  contained  a  collection  of  natur¬ 
alized  birds  and  blown  egges  contributed  by  the  School  of  Aviculture. 
Still  other  museums  of  no  less  interest  contained  collections  of  stones, 
herbaria,  and  very  remarkable  natural  history  collections.  Special 
Schools  of  Agriculture  and  Silk  Culture  contributed  collections  of  bee¬ 
hives  and  honey,  and  samples  of  cocoons  and  other  objects  representa¬ 
tive  of  silk  production.  The  Agronomic  Institute,  or  Institute  for  the 
scientific  laying  out  and  management  of  lands,  made  a  most  interesting 
and  exhaustive  exhibit  of  scientific  instruments  and  appliances  for  those 
who  wished  to  be  informed  on  the  subject  of  diseases  which  affect  soil, 
plants  and  animals,  and  who  cared  to  inquire  into  the  conditions  most 
favorable  to  the  cultivation  of  farms  and  gardens,  the  best  methods  of 
stock-rearing,  and  the  general  practical  results  of  agronomic  science — 


THE  PARIS  EXPOSITION. 


a  science  which,  by  the  way,  is  one  of  comparatively  recent  growth,  but 
which  has  found  a  high  place  in  the  esteem  of  agriculturists  and  has 
marched  forward  with  rapid  strides. 

In  order  to  visit  and  study  the  next  Class  of  the  Group  (Class  6, 
Group  I),  the  movable  floor  must  be  again  brought  into  requisition  and 
a  descent  made  to  the  ground  floor  (first  story).  This  Class,  that  of 
Special  Industrial  and  Commercial  Teaching,  occupied  an  annex  on  the 
rear,  or  Avenue  Suffren,  side  of  the  Palace  of  Education  and  Instruction. 
It  comprised  every  department  of  Technical,  Commercial  and  Manufac¬ 
turing  Education,  except  the  Department  of  the  Seine,  whose  exhibit 
appeared  in  the  Pavilion  of  the  City  of  Paris.  Where  so  many  brilliant 
results  had  been,  within  a  few  years,  achieved  in  the  above  branches  of 
education,  especially  in  that  of  technical  education,  it  was  difficult  to 
designate  those  of  the  highest  illustrative  value.  But  one  could  not 
escape  dwelling  with  satisfaction,  for  a  moment  at  least,  upon  the  fine 
exhibit  of  steam  engines,  fitting  work,  and  wood  and  iron  work  shown 
by  the  School  of  Arts  and  Crafts,  and  the  Manufacturing  Schools.  So. 
clock-making  was  technically  illustrated  by  the  Schools  devoted  to  that 
branch  of  mechanism.  Other  separate  and  interesting  exhibits  exem¬ 
plifying  technical  instruction  were  present  in  great  number,  as  those  of 
artistics  objects  produced  by  the  Professional  Schools  of  Jewelers  and 
Goldsmiths;  embroideries  and  lace-work  of  the  Lomounier  and  Mar- 
tinere  Schools ;  works  in  flowers  and  feathers  produced  in  the  School  of 
the  Paris  Society  for  Paternal  Help;  artistic  work  shown  by  the  Pro¬ 
fessional  School  of  Paper  Manufacture,  and  the  manufacturers  con¬ 
nected  with  it. 

Thus  much  for  the  delineation  of  the  Six  Classes  of  Group  I,  and 
such  detail  of  them  as  fairly  exemplified  their  contents.  As  they  have 
been  viewed  thus  far,  they  were  essentially  French,  and  in  that  respect 
were  at  their  fullest  as  to  number.  Whether  at  their  best  as  to  quality 


THE  GRAND  PALACE  OF  ART. 


E0UCAT1ON. 


16 1 

was  a  question  for  the  Prize  Judges  to  determine,  for  they  were  in  com¬ 
petition  with  the  exhibits  of  the  Foreign  Sections  which  chose  to  be 
present  with  their  exhibits  appertaining  to  Education  and  Instruction, 
and  which  found  a  home  in  the  Educational  Palace  and  its  annexes. 

Sweden,  for  instance,  showed  a  complete  primary  National  School, 
with  its  reading  classes,  manual  training  courses  and  methods,  house¬ 
hold  and  cookery  courses. 

Norway  exhibited  twenty  categories  of  schools.  Among  the  most 
interesting  and  striking  of  them  was  the  one  exemplifying  the  elemen¬ 
tary  school  system  of  Christiana,  and  another  illustrating  a  complete 
school  of  cookery. 

Hungary  occupied  two  large  and  artistically  decorated  sections,  one 
on  the  ground  floor  (first  story),  the  other  on  the  first  floor  (second 
story).  The  principal  exhibitors  were  the  Art  Schools  of  Buda  Pesth, 
and  the  special  Industrial  School  of  Agram.  Their  exhibits  embraced 
school  furniture,  water-color  panels,  iron  ornaments,  precious  stones, 
cut  and  set,  and  many  other  evidences  of  manual  training,  and  of  taste  in 
school  furnishings. 

Switzerland  had  a  large,  variegated  and  complimentary  exhibit,  in 
numerous  rooms  set  apart  for  her  purposes,  but  as  many  of  them  con¬ 
tained  exhibits  appertaining  to  Literature,  Science  and  Art,  a  Group 
(Group  III),  which  found  its  abode  in  the  same  Palace,  reference  must 
be  had  to  them  in  place.  Her  educational  section,  however,  comprised 
many  striking  and  valuable  exhibits  representative  of  the  methods  and 
results  in  her  most  excellent  system  of  elementary,  secondary  and  higher 
schools,  also  in  her  scientific  and  art  schools.  The  exhibits  of  her  tech- 
nichal  schools  showed  a  high  order  of  excellence,  and  without  intention 
to  discriminate,  special  excellence  was  shown,  in  this  respect,  by  the 
technical  display  made  by  the  School  of  Industrial  Art  at  Geneva. 


162 


THE  PARIS  EXPOSITION. 


Russia  exhibited  the  work  and  plans  of  her  profesional  schools  for 
boys  and  girls,  also  of  her  national  technical  schools,  her  higher  scientific 
schools,  and  her  learned  societies.  A  map,  conspicuously  hung  on  the 
walls  of  her  section,  showed  that  the  Russian  Empire  contained  1000  in¬ 
dustrial  schools. 

The  United  States  had  an  interesting  exhibit  belonging  to  the  edu¬ 
cational  group  (Group  I),  and  in  juxta-position  an  equally  interesting 
one  belonging  to  Group  III.  The  former  quite  fully  typified  the  educa¬ 
tional  systems  and  their  practical  results  in  the  United  States,  and  were 
remarked  upon  for  their  comprehensive  arrangement,  and  the  method 
chosen  to  elucidate  them  by  means  of  photographs  in  glass  cases.  It 
proved  creditable  to  the  United  States,  in  the  end,  that  her  educational 
exhibits  carried  off  a  large  number  of  prizes  when  the  day  of  award 
came.  The  University  of  Pennsylvania  was  awarded  the  Grand  Prize 
for  its  archaeological  exhibit,  in  a  field  represented  by  900  other  exhib¬ 
itors,  70  of  which  were  from  the  United  States.  The  exhibit  of  the 
University  of  Pennsylvania  was  prepared  by  Dr.  H.  V.  Hilprecht,  rep¬ 
resenting  the  Babylonian  department;  Mrs.  Cornelius  Stevenson,  the 
Egyptian  department,  and  Stewart  Culin,  the  American  department, 
consisted  of  eighty  wing  frames,  each  set  of  sixteen  frames  holding  thir¬ 
ty-two  pictures.  One  set  of  these  frames  was  devoted  to  general  views 
of  the  University  buildings  prepared  by  the  architectural  department, 
while  the  remaining  space  was  given  over  to  archeological  objects.  Be¬ 
neath  these  photographs  there  was  a  table  case  upon  which  were  placed 
reproductions  of  implements  used  as  dice  in  games  and  divination  by  the 
American  Indians. 

Among  the  other  general  awards  coming  to  the  United  States 
were:  For  Elementary  Eucation — Bureau  of  Education,  Washington. 
D.  C. ;  Boards  of  Education  of  a  large  number  of  cities  and  States ;  Board 
of  Education  of  Washington,  D.  C. ;  United  States  Commission  to  the 


EDUCATION. 


163 

Paris  Exposition  of  1900;  Hawaii  Public  School  System.  Secondary 
Education — Department  of  Education,  United  States  Commission. 
Higher  Education — Vassar  College,  Wesleyan  College,  Harvard  Ob¬ 
servatory;  University  of  California;  University  of  Chicago,  Columbia, 
Cornell,  Harvard,  Johns  Hopkins,  Princeton  and  Yale.  Department 
of  Industrial  and  Commercial  Education — Bureau  of  Education,  Wash¬ 
ington,  D.  C. ;  Hampton  Institute,  and  Tuskegee  Institute. 

England,  Germany,  Belgium,  Italy,  Spain,  Portugal,  and  a  few 
other  countries  had  educational  exhibits  of  an  interesting  character,  but 
in  many  cases  they  were  overshadowed  by  the  allied  exhibits  in  the 
same  Palace  and  belonging  to  Group  III — that  of  Literature,  Science 
and  Arts. 


Fine  Arts. 


already  in  great  part  described,  that  dream-land  of  the  In¬ 
ternational  Exposition  of  1900  whose  central  features  were 
the  two  Palaces  of  Fine  Arts,  lay  in  the  midst  of  the  shrub 
and  flower  lined  paths  of  the  Champs  Elysees  (Elysian 
Fields),  and  on  the  east  and  west  sides  of  the  new,  but  mag¬ 
nificent,  avenue  of  Nicholas  II,  named  in  honor  of  the  Rus¬ 
sian  Czar.  This  avenue  is  a  short  one,  very  nearly  bisecting  the  grounds 
of  the  Champs  Elysees,  and  extending  from  the  broad  and  gorgeous 
Avenue  of  the  Elysees  to  the  monumental  bridge  across  the  Seine,  also 
newly  constructed,  and  named  the  Pont  Alexander  III  (Alexander  III 
Bridge),  in  honor  of  the  late  Russian  Czar,  and  in  commemoration  of  the 
compact  of  amity  between  France  and  Russia. 

It  is  the  understanding  that  these  Palaces  of  Fine  Arts  are  to  re¬ 
main  as  permanent  contributions  to  the  architecture  of  the  city,  and  as 
abodes  of  the  productions  of  artists  past,  present  and  to  come.  Hence 
more  has  been  spent  upon  their  erection  and  ornamentation,  as  well  as 
upon  their  special  architectural  and  utilitarian  appointments,  than  upon 
any  other  buildings  of  the  Exposition.  Indeed,  so  important  were  they 
considered  as  an  evidence  of  high  architectural  attainment,  as  a  means 
of  permanent  beautification,  and  as  a  repository  of  all  that  was  inspiring- 
in  the  world  of  fine  art,  that  there  was  no  hesitation  on  the  part  of  the 
Exposition  managers  to  make  a  place  for  them,  or  at  least  to  render 
them  conspicuous,  by  the  removal  of  the  rather  ungainly  but  very  fam¬ 
ous  Palais  de  lTndustrie  (Palace  of  Industry),  itself  a  survival  of  the  Ex¬ 
position  of  1889. 


*65 


1 66 


THE  PARIS  EXPOSITION. 


One  may  have  approached  these  gorgeous  palaces  in  one  of  three 
inviting  ways.  The  first  would  have  been  from  the  Place  of  Concord, 
westward,  through  the  Monumental  Gate,  the  main  entrance  to  the 
Exposition,  and  then  threading  the  variegated,  flower-perfumed  and 
foliage-decked  paths  of  the  Champs  Elysees.  The  second  would  have 
been  to  pass  from  the  Avenue  of  the  Champs  Elysees,  southward,  into 
the  Avenue  Nicholas  II,  and  thence  directly  between  the  two  Fine  Art 
Palaces.  While  standing  there  with  the  imposing  facade  of  each  Pal¬ 
ace  on  either  side,  with  the  back  northward  toward  the  Avenue  of  the 
Champs  Elysees,  and  the  face  southward,  one  beheld  the  most  splendid 
vista  the  Exposition  afforded.  Immediately  in  front  lay  the  monu¬ 
mental  abutments  and  statue  crowned  arches  of  the  expansive  Alexan¬ 
der  III  Bridge,  then  the  lengthy  sweep  of  the  bridge  itself,  and  beyond, 
the  wide,  flower-costumed  Esplanade  des  Invalides  (Invalids’  Esplan¬ 
ade),  stretching  in  the  distance  between  the  immaculate  structures  on 
either  side,  devoted  to  the  exhibition  of  the  manifold  and  diversified  in¬ 
dustries  of  all  lands.  On  and  on  this  Esplanade  led  the  raptured  sight, 
until  the  picture  ended  in  the  glorious  back-ground  of  the  Hotel  des 
Invalides  (Invalids  Hotel)  beyond,  and  towering  above,  which  sprang 
the  gilded  dome  of  Napoleon’s  tomb.  The  third  approach  would  have 
been  the  direct  opposite  of  the  second,  northward  across  the  Alexander 
III  Bridge,  with  the  advantage  of  a  double  vista  from  the  bridge,  i. 
That  of  the  river  Seine,  stretching  westward  for  a  mile  between  its  Pa¬ 
vilion  and  Palace  bedecked  quays.  2.  That  shorter  one  of  the  Avenue 
Nicholas  II,  bordered  by  the  exquisite  flowering  and  foliage  effects  of 
the  Champs  Elysees,  and  the  imposing  facades  of  the  two  Palaces  of  Fine 
Arts.  But  no  matter  how  the  approaches  may  have  been  made,  the  grand 
central  objective  was  the  two  Palaces  of  Fine  Arts,  and  still,  and  ever, 
the  Palaces.  Seen,  however  often,  exteriorily,  they  never  fail  to  impress 
or  never  cease  to  be  a  study. 


FINE  ARTS. 


167 


The  one  on  the  west  side  of  the  Avenue  Nicholas  III,  was  the 
Grand  Palace  of  Fine  Arts ;  the  one  on  the  opposite,  or  east,  side  was  the 
Petit  Palais  (Small  Palace)  of  Art.  The  former,  or  as  its  name  implies, 
the  larger,  was  the  home  of  the  living,  or  directly  representative,  art  of 
the  world.  The  latter,  or  smaller,  was  the  repository  of  the  retrospec¬ 
tive,  or  historic,  art  of  France,  a  museum,  as  it  were,  in  which  were 
grouped  the  objects  illustrative  of  the  steps  of  French  art  progress,  from 
primitive  times  to  the  present.  The  arrangement  of  exhibits  in  each 
necessarily  differed.  Those  of  the  Grand  Palace  were  arranged  so  as  to 
bring  forth  the  art  characteristics  and  merits  of  the  respective  nations. 
Those  of  the  Small  Palace  were  arranged  so  as  to  show  the  historic 
stages  of  French  art  growth.  But  both,  according  to  the  plan  of  M. 
Picard,  which  controlled  the  entire  arrangement  of  exhibits,  were 
thrown  into  the  same  grand  group,  the  retrospective  art  objects  becom¬ 
ing  in  the  aggregate  an  interesting  and  instructive  contrast  to  those  typ¬ 
ifying  modern  art,  or,  of  themselves,  an  independent  study. 

Therefore,  the  Fine  Arts  department  of  the  Exposition  became 
embraced  under  the  head  of  Group  II,  and  the  classifications  under 
Group  II,  and  which  exhausted  it,  were  as  follows,  the  numbers  of  the 
classes  beginning  where  those  of  Group  I  left  off : 

Class  7.  Paintings,  Cartoons,  Drawings. 

Class  8.  Engravings  and  Lithography. 

Class  9.  Sculpture  and  Engraving  of  Medals  and  Precious  Stones. 

Class  10.  Architecture. 

However  much  one  was  prepared,  or  desired,  to  enter  the  Grand 
Palace,  and  nearly  all  preferred  to  visit  it  first,  it  seemed  impossible  to 
do  so  without  repeating  the  view  of  its  exterior,  already  taken  in  the 
study  of  the  “Exposition  Site  and  Plan,”  for  the  whole  atmosphere  was 
redolent  of  art,  and  one  seemed  never  to  tire  of  studying  the  noble  col¬ 
umnar  effects  produced  on  its  facade,  nor  the  elegance  and  strength  of 


THE  PARIS  EXPOSITION. 


f  68 

the  eight  figures  between  the  columns  representing  the  different  styles 
of  Grecian,  Roman,  Phoenician  and  other  national  art.  Equally  fascin¬ 
ating  was  the  repeated  study  of  those  exquisite  mosaic  friezes,  extending 
from  ground  to  second  story,  which  reproduced  to  the  eye  the  most 
brilliant  art  epochs  in  the  world’s  history.  Nor  could  one  willingly  cease 
to  ponder  again  and  again  those  many  masterpieces  of  sculpture  which 
imparted  such  a  charm  of  strength,  variety  and  beauty  to  the  entire 
facade. 

But  the  feast  within  awaited.  Passing  from  the  Avenue  Nicholas 
II,  through  the  imposing  portal,  one  stood  in  the  grand  vestibule,  500 
feet  long  by  175  feet  wide.  This  immense  vestibule  or  hall,  in  whose 
midst  one  felt  overcome  with  the  sensation  of  distance  and  spaciousness, 
divided  the  Palace  into  two  wings.  The  centre  of  the  right  wing  was 
found  devoted  exclusively  to  French  art,  while  the  entire  left  wing,  run¬ 
ning  parallel  to  the  Seine  quay  of  Conference,  was  devoted  to  the  picture 
galleries  of  foreign  nations,  each  country  having  been  given  a  free  hand 
to  decorate  its  own  section  as  it  pleased.  One  may  be  prepared  to  won¬ 
der  how  such  a  profusion  of  galleries  could  be  accommodated  with 
requisite  light  for  showing  paintings  to  effect.  But  the  demand  was 
fully  met  by  an  ingenious  method  of  slanting  the  glass  roof  and  securing 
reflecting  angles  which  distributed  equal  light  to  all,  and  so  regulated 
it  as  to  suit  both  close  and  remote  views  of  art  objects.  At  points  on 
either  side  of  the  grand  vestibule,  where  it  was  crossed  by  a  smaller  ves¬ 
tibule,  were  spaces  devoted  to  sculpture.  An  immense  circular  space 
at  the  end  of  the  vestibule,  opposite  to  the  entrance,  was  similarly 
devoted. 

As  has  been  mentioned,  the  centre  of  the  right  wing  of  the  Palace 
was  found  devoted  to  French  art.  This  was  truly  a  spacious  and  impos¬ 
ing  section,  approached  through  the  vestibule  which  crossed  the  main 
one.  Flanking  this  splendid  section  on  three  sides,  and,  indeed,  ex- 


THE  LITTLE  PALACE  OE  ART. 


FINE  ARTS. 


*7i 


tending  around  the  main  and  side  fronts  of  the  right  wing  of  the  Palace, 
were  the  magnificent  galleries  devoted  to  what  was  called  the  Decennial 
Exposition  of  Art.  This  Decennial  Exposition  was,  of  course,  a  part 
of  the  general  Exposition,  and  perhaps  the  most  attractive  of  its  art 
parts,  but  it  was  no  less  a  special  French  institution,  in  accordance  with 
whose  rules  the  naticms  of  the  world  were  invited  to  compete  in  art  work 
every  ten  years.  Therefore,  whenever  one  entered  a  gallery  devoted  to 
the  Decennial  Exposition  of  Art,  he  stood  in  the  midst  of  paintings  and 
other  art  works  contributed  by  the  nations  of  the  world  for  the  purpose 
of  competing  for  the  handsome  medals  and  general  prizes  which  success 
commanded.  It  was  commendable  to  witness  how  liberally  the  artists  of 
the  different  nations  had  contributed  of  their  productions  to  this  decen¬ 
nial  contest,  and  what  a  generous  spirit  of  rivalry  existed  between  them ; 
and  every  American  felt  a  particular  pride  in  the  fact  that  the  art  pro¬ 
ductions  of  his  own  country  stood  second  to  those  of  France  only  both 
in  number  and  merit. 

Nor  were  these  galleries  devoted  to  the  Decennial  Exposition  of 
Art  confined  to  three  fronts  of  the  right  wing  of  the  Palace  alone. 
They  extended  entirely  around  that  rear  portion,  or  annex,  of  the  Palace 
which  had  its  facade  on  the  Avenue  Autin ;  a  facade,  by  the  way,  almost 
as  imposing,  though  of  less  length,  as  that  on  the  Avenue  Nicholas  II. 
As  might  have  been  expected,  since  these  numerous  Decennial  galleries 
formed  a  competitive  fete,  to  which  the  world  had  been  invited,  an  im¬ 
mense  space,  in  the  aggregate,  was  devoted  to  them,  together  with 
grander  and  more  magnificent  surroundings,  and  facilities  for  light,  than 
was  ever  before  attempted. 

Another  unique  section  of  the  Grand  Palace  was  that  devoted  to  the 
Centennial  Exposition  of  Art,  or  to  Art  that  could  not  be  classed  as 
either  antique  or  modern — art  too  fresh  and  suggestive  to  be  relegated 
to  the  retrospective  collections  of  the  Little  Palace  across  the  Avenue 


THE  PARIS  EXPOSITION. 


172 

Nicholas  II,  yet  too  ancient  to  be  mingled  with  either  the  modern  and 
elegant  displays  of  France  in  her  national  section,  or  with  those  mag¬ 
nificent  competitive  displays  in  the  Decennial  galleries.  This  Centen¬ 
nial  section  of  art  occupied  the  entire  front  of  the  Grand  Palace  Annex, 
or  that  part  which  faced  the  Avenue  Autin,  and  the  section  was  divided 
into  fifteen  halls  or  galleries  on  the  ground  floor  and  ten  on  the  first 
floor  (second  story). Directly  within  the  entrance  from  the  Avenue  Autin 
facade,  and  occupying  an  immense  circular  area  in  the  centre  of  the  ca¬ 
pacious  vestibule,  was  one  of  the  several  sections  of  the  Palace  devoted 
to  sculpture. 

In  a  study  of  the  ground  floor  arrangement  of  the  Grand  Palace — 
especially  of  that  of  the  right  wing — for  art  display,  one  could  not  help 
being  impressed  with  the  great  number  of  cozy,  small  galleries  contin¬ 
ually  met  with.  They  seemed  to  be,  as  it  were,  little  private  galleries, 
elegant  in  their  appointments  and  in  the  enjoyment  of  special  floods  and 
angles  of  light.  But  they  were  only  so  many  minor  parts  of  the  grand 
Decennial,  or  competitive,  Exposition,  and  their  separate  appearance 
was  in  accordance  with  a  very  happy  idea  of  the  management  to  group 
the  works  of  each  distinguished  artist  as  much  together  as  possible. 
Thus  in  one  of  these  small  galleries  might  have  been  found  together 
“The  Last  Supper,”  “The  Conscripts”  and  “The  Virgin,”  the  three 
grandest  and  best  executed  conceptions  of  Dagan-Bouveret. 

The  first  floor  (second  story)  of  the  Grand  Palace  of  Fine  Arts,  was 
to  a  certain  extent  the  counterpart  of  the  ground  floor.  It  was  reached 
by  means  of  a  monumental  iron  staircase,  rising  from  the  main  vestibule. 
This  staircase  was  in  itself  a  handsome  work  of  art,  designed  by 
M.  Louvet,  and  in  nothing  was  more  picturesque  and  inviting  than  in 
its  handsome  lounges  and  landing  places.  The  floor  contained  many 
salons  and  lounges,  arranged  as  places  of  general  reunion,  and  a  grand 
central  hall  around  whose  exterior  ran  a  gallery  1200  feet  in  length 


FINE  ARTS. 


*73 


and  40  feet  wide.  Above  the  whole  edifice  was  a  huge  dome  140  feet 
in  height,  resting  on  a  base  230  feet  in  diameter. 

Let  it  not  be  forgotten  that  the  entire  wing  of  the  Palace  running 
parallel  to  the  quay  of  the  Seine  was  devoted  to  foreign  picture  gal¬ 
leries,  France  occupying  almost  all  of  that  side  which  looked  out  on 
the  gardens  of  the  Champs  Elysees.  The  sculpture  department  covered 
about  the  same  space  in  the  centre  of  the  nave  projecting  out  into  the 
gardens. 

In  answer  to  criticisms  on  the  roof  arrangement  for  throwing  sun¬ 
light  into  the  very  many  picture  galleries  of  the  Palace,  on  their  loca¬ 
tion,  and  on  contrasts  between  the  Grand  and  Smaller  Palace,  a  com¬ 
petent  French  architect  has  said: 

“Why  was  not  the  principal  entrance  to  the  Exposition  situated 
on  the  Avenue  Nicholas  II,  at  a  point  between  the  Avenue  Champs 
Elysees  and  the  Alexander  III.  Bridge?  The  answer,  of  course,  is  to 
be  found  in  the  fact  that  an  important  construction  at  either  end  of 
this  magnificent  perspective  would  have  spoilt  the  general  effect. 

“Here,  from  the  'Avenue  Champs  Elysees/  a  spectacle  unques¬ 
tionably  without  parallel  is  before  us.  The  two  great  Palaces  of  Fine 
Arts,  called  officially  the  ‘Grand  Palais’  and  the  ‘Petit  Palais/  are  edi¬ 
fices  worthy  in  every  respect  of  the  great  occasion  which  has  called 
them  forth,  and  of  the  great  nation  of  artists  which  has  created  them. 

“Opinions  will  naturally  vary  as  to  the  relative  artistic  merits  of 
the  two  buildings,  but,  remembering  the  adage  that  ‘comparisons  are 
odious/  we  may  with  greater  advantage  dwell  upon  the  many  and 
obvious  merits  of  each.  And,  first,  let  us  not  forget  that  the  great 
problem  of  harmonizing  the  two  has  had  here  again  to  be  grappled 
with,  and  has  been  successfully  solved,  and  we  cannot  but  admit  that 


174 


THE  PARIS  EXPOSITION. 


the  picture  presented  to  us  from  this,  possibly  the  most  important  point 
in  the  whole  Exhibition,  is  a  veritable  triumph. 

“To  the  visitor  who  has  come  to  Paris,  not  to  see  ‘side-shows’  and 
‘bazaars,’  but  to  note  the  artistic  progress  of  France,  this  glorious  reve¬ 
lation  of  her  power  will  give  full  and  lasting  satisfaction.  It  is  indeed 
undoubtedly  true  that  between  the  ‘Champs  Elysees’  and  the  ‘Quay 
Orsay’  we  have  material  for  artistic  appreciation  such  as  has  not  been 
presented  at  any  previous  International  Exhibition.  Fortunately,  too, 
we  have  the  satisfaction  of  knowing  that  these  Palaces  of  Fine  Arts 
and  the  great  bridge  connecting  them  with  the  rest  of  the  Exhibition 
belong  to  the  State,  and  are  permanent  additions  to  the  architectural 
glories  of  Paris.  Both  in  the  grand  lines  of  their  entirety  and  in  their 
minutest  details,  these  works  are  filled  with  that  true  artistic  feeling 
which  to  see  is  to  admire  and  even  to  reverence. 

“The  ‘Grand  Palace  of  Fine  Arts,’  designed  by  M.M.  Deglane, 
Louvet  and  Thomas,  is  erected  on  a  site  the  shape  of  which  presented 
many  formidable  difficulties.  This  site,  of  extremely  irregular  form, 
lay  between  the  Avenue  Nicholas  II.  and  the  Avenue  Antin,  and  be¬ 
tween  the  Cours  la  Reine  and  the  Champs  Elysees.  The  Avenue 
Nicholas  II.  not  being  exactly  parallel  with  the  Avenue  Antin,  this 
irregularity  necessitated  great  care  in  arranging  the  plan  of  the  build¬ 
ing.  This  difficulty  has  been  most  skilfully  overcome. 

“But  let  us  turn  to  the  main  features  of  the  Palace  as  we  now  see 
it.  It  is  to  be  feared  that  the  great  majority  of  visitors  will  not  profit 
by  an  inspection  of  the  parts  of  the  Grand  Palais  lying  away  from  the 
Avenue  Nicholas  II.  They  are,  however,  equally  worthy  of  most  care¬ 
ful  study.  Indeed,  it  is  obviously  impossible  to  form  even  an  approxi¬ 
mate  idea  of  the  completeness  of  this  magnificent  building  without 
studying  it  as  suggested.  But  within  the  limits  of  the  present  notice  we 


‘WOUNDED  FOOTBALL  PLAYER ’’-NEAR  PALACE  OF  FINE  ARTS-UNDER  THE  MAIN  DOME. 

GRAND  ENTRANCE. 


FINE  ARTS. 


1 77 


must  content  ourselves  with  commenting  only  on  those  parts  of  which 
we  are  able  to  give  illustrations. 

“That  part  of  the  Grand  Palais  which  faces  the  Avenue  Nicholas  II. 
has  been  designed  by  M.  Deglane.  Criticism  has  been  heard  to  the 
effect  that  this  facade  is  overladen  with  detail,  but  the  charge,  we  can¬ 
not  but  think,  is  quite  unjustified.  The  dignity  of  the  whole  is  unques¬ 
tionable,  and  that  being  assured,  we  can  scarcely  find  an  excuse  for  the 
criticism  that  there  is  here  too  much  elaboration.  On  the  contrary,  it 
seems  to  us  that  almost  without  exception  the  details  of  the  building 
are  in  strict  keeping  with  the  character  of  the  general  design,  and  take 
their  proper  place  as  decoration. 

“The  stately  facade  of  the  part  of  the  Grand  Palais  fronting  upon 
the  Avenue  Nicholas  II.  consists  of  a  peristyle  of  columns  in  the  manner 
of  Louis  XVI.  or  of  the  middle  of  the  eighteenth  century.  These 
columns  are  richly  decorated  with  wreaths  of  oak  and  laurel,  and  at  in¬ 
tervals  groups  of  sculpture  give  relief  to  the  long  perspective.  The 
central  entrance  to  the  Palais  consists  of  three  great  arches,  each 
divided  by  double  columns,  at  the  bases  of  which  are  four  statues  repre¬ 
senting  ‘Architecture,’  ‘Painting,’  ‘Sculpture,’  and  ‘Music.’  On  either 
side  of  this  great  entrance  are  important  colossal  groups  by  MM.  Gasq 
and  Boucher.  These  groups  are  at  the  bases  of  the  great  motives  of 
architecture  flanking  the  entrance,  and  these  are  surmounted  at  a  great 
height  by  sculptural  efforts  of  great  artistic  excellence. 

“The  visitor  to  this  part  of  the  Exhibition  who  has  previously 
noted  the  somewhat  florid  edifices  on  the  further  side  of  the  Seine,  will 
be  forcibly  struck  with  the  contrast  between  them  and  those  at  present 
Under  consideration.  And  it  must  be  conceded  that  the  lesson  is  £ 
valuable  one.  Here,  in  the  case  of  the  Art  Palaces,  color  and  form 
are  kept  strictly  within  the  bounds  of  the  higher  taste  in  such  matters, 


9 


*78 


THE  PARIS  EXPOSITION. 


with  the  result  that  in  this  very  reserve  we  find  the  more  lasting  satis¬ 
faction.  We  have  said  that  this  reserve  is  noticeable  both  in  color  and 
form.  It  is  certainly  applicable  to  the  very  beautiful  decorative  frieze 
in  mosaic  running  along  the  whole  length  of  this  fagade.  The  designer, 
M.  Edouard  Fournier,  is  to  be  congratulated  on  a  really  remarkable 
achievement.  The  color  scheme  consists  in  a  most  harmonious  ar¬ 
rangement  in  reds,  yellows,  greens,  and  blues,  gold  being  used  with 
discretion  and  judgment. 

“Perhaps  the  best  point  of  view  from  which  to  obtain  a  correct 
impression  of  this  part  of  the  Grand  Palais,  is  from  the  steps  leading 
up  to  the  corresponding  entrance  to  the  Petit  Palais.  And  from  this 
point,  many  criticisms  are  passed  upon  the  appearance  of  the  circular 
glass  and  iron  span  of  the  roofing.  And  perhaps,  if  there  is  room  for 
criticism,  it  is  on  this  point.  One  must  remember,  however,  the  great 
difficulties  presented  by  the  problem  of  the  internal  lighting  of  so  vast 
a  space,  a  problem  which  is  of  the  utmost  importance  in  a  building 
which  is  to  contain  works  of  fine  art.  Moreover,  it  may  be  truthfully 
stated  that,  except  from  this  particular  point  of  view,  the  defect,  if 
defect  it  be,  is  not  noticeable  in  the  favorable  impression  created  by  the 
building  as  a  whole. 

“It  is  not  too  much  to  say  that  the  Grand  Palais,  on  the  artistic 
merit  of  which  so  much  depended,  is  a  triumphant  success,  and  that  it 
will  add  to  the  just  renown  of  the  French  architects  of  the  close  of  the 
nineteenth  century.” 

The  paintings  which  made  up  the  French  exhibit  of  Group  II., 
numbered  1,530,  and  the  aggregate  of  foreign  paintings  was  nearly  as 
large.  Among  those  of  the  French  section  which  were  notable  for 
their  traditional  art,  and  also  for  that  art  which  tends  to  new  thoughts 
and  sensations,  was  “The  Pursuit  of  Pleasures”  (five  landscapes),  by 


FINE  ARTS. 


179 


Cazin;  “Storm  in  the  Forest”  (and  others),  by  Menard;  “Sleep  of  the 
Infant  Jesus,”  by  Hebert;  “Ponies  in  the  Sunshine,”  by  Besnard; 
“Queen  of  Angels,”  by  Bouguereau;  “A  Pilgrimage,”  by  Dauchez; 
“Girl  with  a  Rose,”  by  Prinet;  “Lady  Godiva,”  by  Lefebvre;  “A  Lace 
Maker,”  by  Lormont;  “Death  and  the  Woodcutter,”  by  Lhermitte;  etc. 

On  the  first  floor  (second  story),  above  the  exhibition  of  French 
paintings,  were  found  the  engravings,  drawings,  pastels  and  water 
colors.  Among  them  were  productions  of  many  of  the  masters  named 
above,  but  they  comprised  chiefly  the  works  of  such  as  Renouard, 
Madame  Simon  and  others,  who  seldom  attempted  oil  painting.  To 
these  was  added  a  series  of  paintings  of  miniatures,  showing  an  unex¬ 
pected  and  charming  revival  of  an  art  which  had  almost  disappeared. 

The  section  of  engravings  contained  some  500  exhibits  of  plates, 
and  at  least  360  of  these  were  the  reproduction  of  pictures,  excellent  in 
their  way  and  signed  by  artists  of  world-wide  celebrity,  such  as  Achille, 
Jacquet,  Burney  and  Flamery.  A  noticeable  defect  in  the  arrange¬ 
ment  of  engraving  exhibits  was  that  no  separate  place  was  provided  for 
the  authors  of  original  plates,  who  were  brilliantly  represented  by  such 
names  as  Lepere,  in  his  “Views  of  Paris;”  Carrieres,  in  his  lithographs 
of  “Rodin”  and  others;  Bracquemond,  in  “Souvenir  of  the  Russian 
Week”  and  “Pheasants.” 

Two  large  halls  of  the  first  floor  (second  story)  were  compactly 
filled  with  architectural  drawings,  and,  besides,  they  were  ranged  all 
round  the  outer  galleries.  The  entire  Grand  Palace  was,  in  a  measure, 
an  up-to-date  exhibition  of  architectural  art,  though  the  close  of  the 
nineteenth  century  did  not  appear  to  have  produced  any  decided  in¬ 
novations  in  architectural  styles.  Among  the  most  notable  of  these 
drawings  were  Bertone’s  “Ancient  Restorations  at  Rome  and  Pom¬ 
peii;”  Chedaune’s  “Pantheon  of  Agrippa;”  Blondel’s  “Three  Private 


THE  PARIS  EXPOSITION. 


‘U 

Hotels;”  Wable’s  “Anthological  Museum,”  and  Roberts’  “Restoration 
of  the  Castle  of  Amboise.” 

The  Sculpture  Sections  of  the  French  exhibits  did  not  by  any 
means  convey  an  idea  of  the  vast  amount  of  work  done  by  sculptors 
during  the  decade  ending  with  the  century.  As  a  matter  of  fact,  the 
most  important  pieces  of  work  in  the  line  of  sculpture  were  those  which 
could  not  be  moved,  such  as  the  public  monuments  which  are  dis¬ 
tributed  so  generously  throughout  Paris  and  entire  France.  However, 
the  statues  which  were  on  view  in  the  Palace  transepts  and  in  the  sur¬ 
rounding  gardens,  proved  of  great  interest  and  compared  very  favor¬ 
ably  with  the  works  exhibited  by  other  nations.  Every  here  and  there 
one  great  group  exalted  its  ornamental  head  above  another,  and  one 
could  study  with  pleasure  the  masterpieces  of  the  era.  Near  the  greater 
statues  clustered  those  of  lesser  size  and  the  busts,  and  here  again  the 
masters  were  fully  represented — Ginder,  in  his  “Panthers,”  “Lions,” 
“Tigers,”  and  “Danish  Hounds;”  Marqueste,  in  his  “Eve”  and  “Ma¬ 
ternity;”  Lenoir,  in  his  “Marshal  Canrobert,”  etc. 

Placed  in  cases  in  the  panels  of  the  Hall  of  Painting,  were  the 
medals  and  engraved  precious  stones,  which  had  come  to  occupy  a 
place  in  French  art  higher  than  ever  before.  This  exhibit  far  excelled 
any  ever  seen  in  Paris,  and  that  of  no  other  country  approached  it  in 
artistic  splendor. 

As  has  been  said,  the  side,  or  wing,  of  the  Grand  Palace  of  Fine 
Arts,  overlooking  the  gardens  devoted  to  Horticulture  and  the  Seine 
beyond,  or,  in  other  words,  the  south  side,  or  wing,  of  the  Palace,  was 
devoted  to  the  exhibits  of  fine  arts  of  foreign  nations.  Entering,  there¬ 
fore,  the  Palace  at  the  doorway  leading  from  the  Avenue  Nicholas  II., 
the  first  of  the  foreign  sections  was  found  on  the  ground  floor,  on  the 
left  of  the  grand  vestibule.  It  was  the  Belgian  section,  consisting  of 


STATUARY  HART—  GRAND  PALACE  OF  FINE  ARTS. 

Copyrighted,  1900— William  H.  Rau. 


FINE  ARTS.  t*3 

two  halls,  with  rather  limited  space  for  a  country  whose  artistic  pro¬ 
gress  was  so  well  recognized.  Here  were  shown  in  great  profusion 
and  beauty  the  paintings  of  Belgian  artists  of  renown,  as  well  as  those 
of  new  aspirants  for  fame.  One  could  not  help  marking  especially  the 
splendid  landscapes  of  Courtens  and  Baerteven,  the  clever  portraits  of 
Motte  and  Van  Beers,  and  the  paintings  of  interiors,  by  Stevens.  Bel¬ 
gium  also  showed  some  rich  specimens  of  sculpture  by  Meunier, 
DuBois,  Rombaux  and  others. 

Next  to  Belgium  came  Holland’s  fine  art  exhibit,  numbering  in 
its  rich  collection  such  masterpieces  as  Israel’s  “Winter  Day  in  Am¬ 
sterdam;”  Mesdag’s  “Summer  Morning;”  Ten  Cate’s  “Meuse  at  Rot¬ 
terdam;”  ets.  So,  the  Holland  collection  was  especially  strong  in  en¬ 
gravings,  thus  keeping  up  the  representation  of  the  Netherlands  in  this 
branch  of  art.  In  sculpture  appeared  such  distinguished  works  as 
those  by  Van  Hove  and  Mile.  Schwartze. 

Italy’s  collection  of  fine-arts  came  next.  It  was  contained  in  a 
small  hall,  but  she  had  a  larger  collection  on  the  first  floor  (second 
story).  Her  paintings  were  pleasing  and  brilliant,  true  representatives 
of  the  art  which  characterizes  the  soft  skies  and  scenes  of  the  Mediter¬ 
ranean  shores.  One  could  discriminate  with  difficulty  between  the 
merits  of  the  masterpieces  which  adorned  the  walls  of  the  Italian  gal¬ 
leries,  but  perhaps  Michetti’s  “Peasant  Returning  from  Mass”  attracted 
the  most  attention.  Italy  was  also  particularly  rich  and  varied  in  sculp¬ 
ture,  the  most  striking  pieces  being  Troubetzkoi’s  “Cavalry  Soldier” 
in  bronze,  and  Canonica’s  “Surprise  and  Silence.” 

Next  to  Italy  came  Russia’s  art  exhibit,  contained  in  two  halls, 
but  with  a  principal  exhibition  of  paintings  in  wooden  buildings  erected 
in  the  corridor.  The  place  of  honor  in  the  Russian  exhibition  was  oc¬ 
cupied  by  the  fine  statue  of  the  late  Emperor  Alexander  III.,  by  Auto- 


184 


THE  PARIS  EXPOSITION. 


kolsky,  who  also  contributed  several  other  masterpieces.  The  Russian 
paintings,  especially  those  executed  by  Friesland  artists,  were  melan¬ 
choly  in  conception  and  stiff  in  execution. 

Germany’s  art  exhibition  stood  next  to  that  of  Russia.  It  was 
strikingly  characteristic  in  its  quiet  arrangement,  and  in  the  strength 
of  works  calculated  to  show  the  merits  of  the  rival  schools  of  symbolism 
and  realism.  German  engravings  and  sculptures  brilliantly  represented 
the  masters  in  these  lines  of  art,  the  sculptures  of  Begas,  Hildebrand, 
Struck,  Eberlein,  and  others  being  particularly  noticeable. 

Spain’s  exhibit  followed  that  of  Germany  on  both  floors  of  the 
Palace.  She  was  represented  in  painting  by  her  best  artists,  but  their 
productions  appealed  rather  to  one’s  astonishment  than  sentiment. 
She  was  stronger  and  richer  in  sculpture  than  in  painting,  having,  in 
sculpture,  gotten  away  from  the  influence  of  the  Roman  school  of  art. 

Sweden’s  two  halls  came  next  to  Spain  on  the  ground  floor  of  the 
Palace.  Her  paintings,  generally  in  delightful  harmonious  coloring, 
represented  such  masters  as  Zorn,  Arsenius,  de  Bjorck  and  others. 
The  same  reliable  taste  was  found  in  the  engravings  of  Zorn  and  Lars- 
son,  in  the  sculptures  of  Ericksonn  and  Milles,  and  in  the  architectural 
designs  of  Anderberg  and  Boberg,  the  latter  of  whom  built  the  charm¬ 
ing  Swedish  Pavilion  in  the  Street  of  Nations  upon  the  quay  of  the 
Seine. 

Denmark  came  next  with  her  gallery  decorated  in  blue,  and  with 
designs  of  lines  which  reminded  one  forcibly  of  the  pleasing  simplicity 
associated  with  the  celebrated  porcelain-work  of  Copenhagen.  She 
had  a  large  and  varied  collection  of  art  works,  representing  the  talent 
of  such  masters  as  Kroyer,  Lorenz,  Froelich  and  others. 

Switzerland’s  works  of  art  filled  four  halls  on  the  first  floor  (second 
story)  of  the  Palace.  Her  exhibit  of  paintings  was  particularly  credit- 


FINE  ARTS.  185 

able,  notable  among  them  being  the  mountain  landscapes  of  Band- 
Bovy,  and  Burnand’s  “Invitation  to  the  Feast.”  Fine  engravings  were 
present  by  Van  Muyden,  Megard  and  others.  Waldman  was  preemi¬ 
nent  in  his  sculptures  of  wild  animals. 

Great  Britain  presented  a  display  of  art  quite  varied  and  strong. 
It  represented  her  veteran  artists  devoted  to  antique  art,  the  pre- 
Raphaelite  school,  which  affects  a  return  to  the  Italian  art  of  the  15th 
century,  imitators  of  18th  century  painters,  and  independent  artists. 
Among  the  most  brilliant  productions  were  “Cupid’s  Hunt”  and  “The 
Lord  of  the  Priory,”  by  Burne-Jones;  “Spring,”  by  Alma  Tadema; 
“Golden  Blossoms,”  by  Parsons;  portraits,  by  Herkomer,  Walter 
Crane,  etc. 

Closely  connected  with  the  British  section  on  the  first  floor  (second 
story)  came  the  art  exhibit  of  the  United  States.  It  was  spacious,  well 
arranged,  and  creditable  to  the  large  number  of  contributors.  The 
sculptures  were  installed  both  inside  and  outside  of  the  palace.  Of  the 
United  States  exhibit  the  Editor  of  the  “Fine  Arts  Catalogue”  says: 

“The  Director  General  of  the  Paris  Exposition  of  1889,  in  his 
official  report  on  the  Fine  Arts  Exhibition,  said:  ‘The  United  States 
Section  was  but  a  brilliant  annex  to  the  French  Section.  .  .  .  The 
ambition  of  American  artists  evidently  is  to  interpret  the  world  of  to¬ 
day ;  but  they  have  come  to  us  to  get  their  method  of  expression.  .  .  . 
It  would  be  difficult  to  mention  many  men  who  do  not  draw  their  inspi¬ 
ration  directly  from  French  masters.’ 

“With  this  official  comment  in  mind  the  Director  of  Fine  Arts  for 
the  United  States  at  the  present  Exposition  has  endeavored  to  place 
before  the  world  a  collection  of  American  art  that  cannot  be  justly 
characterized  in  like  manner.  During  the  past  decade  the  United 
States  has  made  unparalleled  progress  in  all  things,  but  in  none  is  this 


m 


THE  PARIS  EXPOSITION. 


progress  more  noticeable  and  pronounced  than  in  the  Fine  Arts.  Ten 
years  ago  there  were  very  few  institutions  sufficiently  well  equipped  to 
supply  the  ever-growing  demands  for  education  in  art,  and  the  student 
was  instructed  by  men  fresh  from  the  European  schools.  It  was  then 
necessary  that  the  student  should  go  to  Europe,  not  only  to  broaden 
his  conceptions,  but  really  to  learn  the  means  to  execute  them.  Paris, 
which  was  universally  admitted  to  be  the  art  centre  of  the  world,  be¬ 
came  the  Mecca  for  most  of  our  students,  and  it  is  only  natural  that 
they  should  have  acquired  many  of  the  mannerisms  and  methods  of 
their  masters.  But  since  the  Exposition  of  1889,  American  art  has  to 
a  great  degree  emancipated  itself  from  foreign  trammels,  and  entered 
upon  a  career  of  its  own, — expressing  American  thought  and  reflecting 
American  nature.  To-day  we  have  many  well-equipped  institutions  in 
which  the  student  can  develop  an  artistic  temperament  on  his  native 
soil,  in  which  individuality  is  recognized  and  encouraged,  while  the 
necessary  methods  of  expression  are  being  learned.  It  used  to  be  said 
that  landscape  was  the  only  field  for  native  art;  but  the  splendid  growth 
of  our  figure  painters,  of  portraitists  of  the  first  rank,  of  mural  painters 
and  masters  in  stained  glass,  who  meet  and  successfully  compete  with 
those  of  Europe  on  their  own  ground,  make  this  statement  no  longer 
tenable. 

“To  such  fearless  and  dominating  personalities  as  the  late  George 
Inness,  Homer  Martin,  A.  H.  Wyant,  and  a  score  of  others  who  are 
still  living,  we  must  look  for  the  establishment  of  a  National  Art. 
These  men  sound  a  clear,  strong  note  of  originality;  and  their  influence 
on  the  art  of  their  country  is  pronounced  and  permanent.  It  is  not  of 
painting  alone  that  this  statement  is  true.  Our  sculptors,  architects, 
and  illustrators  are  among  the  best  in  the  world;  and  our  engravers  on 
wood  have  long  since  been  acknowledged  preeminent. 


FINE  ARTS. 


187 

“In  forming  the  present  exhibition,  the  object  of  the  Director  of 
Fine  Arts  has  been  to  place  before  this  conclave  of  nations  a  truly 
representative  American  exhibition.  To  insure  this  result,  he  ap¬ 
pointed  as  his  advisers,  both  in  America  and  in  Europe,  the  strongest 
and  ablest  of  our  artists  in  the  various  fields  represented,  forming  juries 
before  whom  every  creed  and  cult  found  support  and  sympathetic  atten¬ 
tion.  It  is,  therefore,  confidently  believed  that  no  phase  of  American 
art  produced  during  the  past  decade  has  been  omitted,  but  that  all 
phases  are  represented  by  the  most  characteristic  examples  obtainable. 

“That  the  space  allotted  to  the  United  States  in  the  present  Expo¬ 
sition  is  inadquate  must  be  greatly  regretted,  as  many  of  our  able  men 
are  of  necessity  insufficiently  represented;  but  the  policy  adopted  by 
the  Director  of  Fine  Arts  in  the  beginning,  and  strictly  adhered  to,  was 
not  in  the  interest  of  the  individual,  but  of  National  Art,  and  the  result 
must  be  just  recognition  of  our  artistic  strength,  which  will  place  us 
beside  the  strongest. 

“Much  is  due  to  the  public  spirit  and  generous  aid  of  some  of  our 
best-known  institutions  of  art,  and  to  many  connoisseurs,  who  have 
made  the  present  exhibition  possible  by  lending  their  most  valued 
works;  and  the  Director  of  Fine  Arts  wishes  to  take  this  opportunity 
to  acknowledge  their  kindness  and  cooperation.” 

In  painting,  the  exhibit  embraced  255  works  by  artists  of  national 
fame,  among  whom  were  Abbey,  Baxter,  Calder,  Crane,  Davis,  Eaton, 
Foster,  Gay,  Harrison,  Jones,  Kingslay,  LaFarge,  MacChesney,  Nich¬ 
olas,  Ochtman,  Pearce,  Reid,  Sargent,  Tanner,  Vail,  Walden,  Zog- 
baum.  It  also  embraced  160  drawings,  etchings  and  engravings  by 
prominent  artists;  41  miniatures;  62  pieces  of  sculpture,  comprising 
such  works  as  St.  Gaudens’  “General  Sherman,”  “MacMonies’ 


THE  PARIS  EXPOSITION, 


18B 

“Bachante,”  French’s  “George  Washington,”  and  Herring’s  “Echo;” 
and  56  architectural  designs. 

In  the  distribution  of  awards  the  following  American  artists  were 
favored  with  prizes:  Department  of  Fine  Arts — Class  7  (painting). — 
John  S.  Sargent,  J.  MacNeill  Whistler,  Edwin  A.  Abbey,  John  W. 
Alexander,  Cecilia  Beaux,  George  de  F.  Brush,  William  M.  Chase, 
Winslow  Homer,  Abbott  Thayer.  Class  8  (black  and  white). — J.  Mac¬ 
Neill  Whistler,  Joseph  Pennell,  Timothy  Cole.  Class  9  (sculpture). — 
Augustus  St.  Gaudens,  Frederick  MacMonnies,  Daniel  C.  French, 
Charles  Grafly,  George  Grey  Barnard,  Richard  Brooks. 

In  the  galleries  running  parallel  to  Avenue  Nicholas  II.,  was  found 
the  art  exhibit  of  Austria-Hungary,  containing  interesting  paintings 
by  her  artists  of  renown. 

Japan  occupied  a  place  between  France  and  the  United  States, 
and  joined  for  the  first  time  the  great  European  International  Art  Ex¬ 
hibition.  Her  exhibit  attracted  wide  attention  by  virtue  of  its  novelty, 
and  invited  study  by  reason  of  its  peculiar  merits.  In  her  description  of 
the  Japanese  exhibit  Minnie  Robinson  says:  “It  was  odd,  after  having 
steeped  one’s  eye  with  the  vivid  or  startling  colors  of  the  other  pictures 
of  the  great  gallery,  to  enter  here  and  be  met  with  the  pale,  rare  hues 
of  this  clever  reawakened  Oriental  race.  It  was  a  point  of  rest  among 
an  assemblage  of  canvases  replete  with  enigmatic  motif,  subtle,  evasive 
suggestions,  despairing,  though  powerful,  interpretations  of  life.  Not 
but  that  many  of  these  said  canvases  merited  the  effort  of  concentration 
and  reflection  that  one  had  to  bring  to  bear  on  them  in  order  to  judge 
them  properly,  but  nevertheless  one  was  glad  to  repose  himself,  after 
having  made  a  conscientious  'turn’  among  them. 

“This  repose  he  could  have  in  the  Japanese  section.  But  it  was 
not  because  the  pictures  here  were  lacking  in  thoughtful  treatment  or 


PINE  ARTS. 


189 


study.  Each  one  of  them,  in  fact,  was  as  carefully  and  minutely  finished 
as  a  bit  of  miniature  work.  It  was  rather  from  their  total  avoidance 
of  problem  subjects,  which  perhaps  they  finished  with  long  before  our 
restless  modern  races  saw  the  light,  and  their  studious  cultivation  of 
those  themes  which  involve  soft  reveries  and  playful  flights  of  fancy. 
Two  of  the  rooms  were  entirely  devoted  to  paintings  done  according 
to  Japanese  traditions;  the  third  showed  the  effect  of  foreign  art  upon 
the  artists  of  the  land  of  the  cherry  blossom. 

“Naturally,  one  turned  to  these  first  two  rooms  with  more  interest 
than  to  the  other,  because  the  work  seemed  more  genuinely  Japanese 
as  to  methods  and  inspiration.  It  was  like  alternating  between  the 
realms  of  fairies  and  dreams  here.  One  picture  possessed  all  the  vague 
poetical  suggestiveness  of  a  vision  seen  in  sleep,  another  softly  glittered 
with  powdery  gold  dust  like  that  produced  by  the  wand  of  the  fairy 
godmother. 

“The  motifs  were  as  slight  as  the  execution  was  light  and  delicate. 
On  one  canvas  one  saw  a  transparent  yellow  chrysanthemum  being 
demolished  on  its  stem  by  a  little  kitten,  while  a  bumble  bee  hovers 
above  the  scene  apparently  much  disgruntled  to  see  its  legitimate  prey 
snatched  from  it.  Another  presented  two  or  three  tiny  sparrows  shiv¬ 
ering  in  the  snow,  and  a  third  showed  a  line  of  mountain  peaks  veiled 
in  the  softest,  most  ethereal  clouds.  One  wandered  further  and  en¬ 
countered  a  tiger — he  is  a  favorite  subject  with  the  Japanese  artist — 
full  of  a  lithe  power,  spitting  defiance  at  a  dragon-headed  god  emerging 
from  a  glittering  powdery  cloud. 

“Such  subjects  treated  by  any  but  an  Oriental  hand  seem  puerile, 
or  at  the  most  inconsequent.  But  the  wonderful  patience,  the  exquisite 
poetical  sense,  and  the  marvelously  fine  touch  of  the  Japanese — which 
is  as  much  lighter  in  its  movements  than  ours  as  is  a  swallow’s  flight 


THE  PARIS  EXPOSITION. 


I90 

to  an  eagle’s — make  of  them  charming  little  scenes  that  appeal  to  our 
imagination  pleasantly,  and  recall  those  delicate  evanescent  sides  of 
nature  to  us  that  the  Western  artist  seems  seldom  able  to  imprison  in 
a  canvas  up  to  now. 

-‘The  Japanese  fir  tree,  every  flower  indigenous  to  Japan,  and  all 
small  birds,  the  artist  of  the  Oriental  island  kingdom  portrays  to  per¬ 
fection.  One  reads  sometimes  about  each  thing  in  nature  possessing 
an  individual  soul — ah!  well,  look  at  any  one  of  these  things  in  a  Japan¬ 
ese  painting,  and  you  will  see  a  subtle,  fragrant  little  inner-spirit  peep¬ 
ing  out  of  them  all. 

“All  of  these  pictures  are  painted  on  white  silk,  and  hence  there 
is  a  uniformity  of  background  that  immediately  strikes  the  eye  on 
entering  the  room.  If  a  landscape  is  delineated,  it  is  more  often  done 
in  blacks  and  browns,  with  the  ever-present  white  background,  and  it 
is  astonishing  how  poetically  serene  and  pure  the  effect  is. 

“The  Japanese  artist  affected  by  ‘the  moderns’  shows  himself 
astonishingly  adaptable.  In  the  third  room  one  found  a  collection  of 
oil  paintings  quite  conventional  as  to  coloring,  etc.  He  has,  however, 
been  truer  than  the  American  painter  to  his  native  land  in  the  choice 
of  his  subjects.  All  his  groups  and  landscapes  are  drawn  from  Japanese 
sources.  There  are  no  problem-pictures  here  either.  The  Oriental 
accepts  our  methods,  but  he  has  no  wish  to  acquire  our  unrest  and  dis¬ 
content.  He  mirrors  faithfully  fishing  scenes,  Japanese  interiors,  a 
bamboo  forest,  but  they  have  no  double  interpretation;  they  are  what 
they  are,  pure  and  simple. 

“What  the  Japanese  artist  of  the  future,  more  and  more  enrapport 
with  our  turbulent  Western  civilization,  may  become,  it  is  not  possible 
to  say,  but  at  present  he  is  possessed  with  a  fine  poetical  appreciation 


fWfffr 


INTERIOR  GRAND  PARACE  OF  FINE  ARTS. 


FINE  ARTS. 


*93 


of  nature’s  more  ethereal  sides,  and  a  gift  of  quiescent  patience  which 
gives  to  his  work  an  indefinable  allurement.” 

The  Norway  collection  had  a  prominent  position  in  the  Palace, 
and  richly  deserved  it  on  account  of  her  rare  artistic  intelligence,  for 
she  boasts  of  many  excellent  artists,  as  Thaulow,  Werenskiold  and 
others. 

Portugal  displayed,  in  her  exhibit,  her  sober,  classical  traditions, 
being  represented  by  Salgado’s  “Our  Savior,”  Braga’s  “Sister  Marian¬ 
na,”  Columbano’s  “Vision  of  St.  Anthony,”  and  Reis’  several  portraits. 

Roumania,  Servia  and  Bulgaria  had  their  art  exhibits  grouped 
together  in  the  corridor  on  the  first  floor  (second  story).  Their  dis¬ 
plays  showed  that  their  political  independence  had  been  of  too  recent 
date  for  their  original  talents  to  show  marked  progress.  Yet  there 
were  some  very  creditable  productions,  as  Kutlik’s  “First  Triumph  of 
Death;”  Grigoresco’s  “Ox  Cart;”  Kornea’s  “Death  of  Sigurd,”  etc. 

Three  other  halls  on  the  first  floor  (second  story)  of  the  Grand 
Palace  were  reserved  for  the  art  exhibits  of  foreigners.  In  them  were 
collected  the  works  of  Turkish,  Peruvian  and  other  artists,  whose 
nationalities  were  not  represented  by  official  agents.  Among  these 
were  some  three  or  four  independent  American  artists. 

Fifteen  halls  on  the  ground  floor  of  the  Grand  Palace  of  Fine  Arts, 
and  ten  on  the  first  floor  (second  story),  were  devoted  to  the  Centen¬ 
nial  Exhibition.  This  was,  up  to  a  certain  point,  merely  a  second  part 
of  the  Retrospective  Exposition,  with  which  it  was  connected  by  cer¬ 
tain  pieces  of  furniture  and  objects  of  industrial  art.  Painting  and 
sculpture,  which  were  exhibited  in  the  Little  Palace  of  Art  as  the  ex¬ 
ception  rather  than  the  rule,  and  with  the  sole  idea  of  completing  the 

general  scheme  of  decoration,  were  quite  paramount  in  this  Cen: _ 

Exposition.  Space  was,  however,  found  for  the  lesser  arts,  and  they 


194 


THE  PARIS  EXPOSITION. 


were  found  in  the  Halls  of  Rest  where  they  were  grouped  according 
to  date. 

The  various  galleries  occupied  by  the  Centennial  exhibits  com¬ 
municated  with  one  another  on  their  respective  floors.  Though  the 
exhibition  was  called  Centennial,  it,  nevertheless,  contained  several 
works  of  the  revolutionary  period.  But  the  central  object  was  to 
represent  through  this  centennial  art  the  France  of  a  hundred  years 
ago  in  its  artistic  moods.  Thus,  a  series  of  works  formed  a  collection 
representing  the  revival  of  Grecian  art  under  the  first  empire.  And  so, 
for  other  collections,  each  representing  its  period. 

This  account  practically  exhausts  the  wonders  found  inside  of  the 
Grand  Palace  of  Fine  Arts.  The  next  step  must  be  to  the  opposite, 
or  east,  side  of  the  Avenue  Nicholas  II.,  where  stands  the  Little  Palace 
of  Arts,  devoted  to  the  French  Retrospective  Exposition.  Small  only 
by  comparison  with  the  Grand  Palace,  this  beautiful  building  is  almost 
of  equal  importance  in  creating  an  impression  of  the  artistic  success  of 
the  Exhibition.  Its  site  being  a  more  promising  one  than  that  of  the 
Grand  Palace,  this  advantage  has  been  seized  upon  and  used  to  good 
purpose  by  the  architect,  M.  Girault. 

The  main  front  of  the  Petit  Palais  (Little  Palace),  facing  the 
Avenue  Nicholas  II.,  consists,  broadly  speaking,  of  a  series  of  thirty- 
two  Ionic  columns,  leading  up  to  a  grand  entrance  arched  in  semi¬ 
circular  form.  This  entrance  conducts  us  into  the  great  central  hall, 
which,  viewed  from  the  exterior,  is  seen  to  be  surmounted  by  a  dome  of 
extremely  fine  proportions.  Pavilions  of  harmonious  lines  terminate 
the  main  faqade.  These  terminal  pavilions  at  either  end  take  the  form 
of  large  bays,  each  consisting  of  three  windows,  separated  by  columns. 
Fine  motives  of  decorative  sculpture  crown  these  bays,  and  contribute 
materially  to  the  beauty  of  the  composition. 


FINE  ARTS. 


*9$ 

Seven  arched  windows  of  symmetrical  proportions  connect  the 
main  front  with  the  posterior  fagade.  Domed  pavilions  terminate  at 
either  end  this  part  of  the  Palace.  This  posterior  portion  of  the  build¬ 
ing  is,  as  in  the  case  of  the  Grand  Palace,  well  worth  careful  study. 

Returning  to  the  Main  Front,  we  may  notice  that  the  general  lines 
of  the  building  are  extremely  simple,  and  this  fact  undoubtedly  enables 
the  Little  Palace,  although  so  inferior  in  actual  size  to  the  Grand  Palace, 
to  hold  its  own  in  point  of  dignity  against  its  giant  neighbor.  These 
simple  and  dignified  lines  give  a  sense  of  size  to  the  lesser  building, 
which  is  of  the  very  first  importance  in  such  a  case. 

The  Ionic  columns  are  severe  almost  to  an  extreme,  but  they  are  in 
strict  keeping  with  the  general  lines  of  the  architecture,  and  contrast 
admirably  with  its  decorative  features.  Amongst  these  latter  is  to  be 
especially  noted  the  fine  sculptured  frieze  in  high  relief  which  runs  along 
the  entire  length  of  the  main  front.  The  great  flights  of  stone  steps 
leading  up  to  the  main  entrance  enhance  the  dignity  of  this  fine  ap¬ 
proach,  and  the  superb  groups  of  sculpture  by  MM.  Convers  and  Fer¬ 
rary  give  a  completeness  to  this  entrance  not  excelled  by  anything  in 
the  Exhibition. 

Before  leaving  this  part  of  the  building,  let  us  note  the  wonderful 
metal  work  used  here.  Indeed,  the  whole  of  the  Little  Palace  is  ex¬ 
tremely  rich  in  this  respect,  the  metal  work  being  of  an  order  altogether 
exceptional  both  in  purity  of  design  and  quality  of  workmanship. 
Color  has  been  but  sparingly  used  in  the  decoration  of  this  part  of  the 
Palace,  but  fine  metal  work,  and  here  and  there  gilding,  has  been  used 
with  taste  to  emphasize  points  of  importance. 

The  great  central  arch  of  the  main  entrance  is  surmounted  by  a 
magnificent  lunette  in  high  relief  by  Juyalbert,  other  decorative  features 


196 


THE  PARIS  EXPOSITION.  . 


being  winged  figures  with  wreaths  proclaiming  the  triumphs  of  paint¬ 
ing  and  sculpture. 

Passing  now  through  this  entrance  we  note  the  beautiful  lines  of 
the  interior.  Here  are  placed  the  art  treasures  showing  the  History 
and  Progress  of  French  Art,  from  the  earliest  historical  times  to  the 
end  of  the  eighteenth  century. 

But  a  glimpse  of  the  attractions  of  the  courtyard  beyond  takes 
us  once  more  into  the  sunshine,  and  here  a  picture,  attractive  in  the 
extreme,  lies  before  us. 

A  semi-circular  colonnade  of  marble  columns  of  beautiful  color, 
and  festooned  with  garlands  of  gilded  bronze,  support  a  roof,  the  balus¬ 
trade  of  which  is  decorated  with  gilded  sculptures.  The  panelling  of 
the  walls  of  this  semi-circular  corridor  are  composed  of  marbles  of 
varied  color  and  texture,  arranged  to  produce  a  wonderful  harmony. 
The  floor  is  composed  of  designs  in  mosaic. 

The  courtyard  itself  is  laid  out  with  the  greatest  taste.  Fountains 
play  here  among  flowers  and  shrubs.  The  basins  of  the  fountains  are, 
above  the  water-line,  decorated  in  mosaic.  The  color  scheme  is  very 
rich,  blues  and  greens,  with  gold,  predominating.  Indeed,  it  seems 
that  the  reserve  maintained  in  respect  of  color,  in  the  front  facing  the 
avenue,  has  had  here  the  effect  of  reaction,  and  the  architect  has  been 
inclined  to  show  that,  in  its  proper  place,  the  warmth  and  wealth  of 
color  may  be  used  unsparingly. 

Before  leaving  this  courtyard  we  may  note  the  design  of  the  en¬ 
trance  to  the  central  vestibule.  Though  naturally  less  ambitious  than 
the  main  entrance,  it  is,  none  the  less,  a  beautiful  and  artistic  work. 
Indeed,  he  would  be  a  captious  critic  who  could  find  serious  fault  in 
any  part  of  this  fine  building,  every  detail  of  which  appears  to  us  to  be 
of  the  best  and  finest.  The  architect  has  given  us  a  work  which  took 


HALL  OF  THE  GRAND  PALACE  OF  FINE  ARTS. 


FINE  ARTS. 


m 

the  jury  by  storm  at  the  time  of  the  competition,  and  which  now  fills 
the  public  with  delight  and  admiration.  To  M.  Girault,  and  the  sculp¬ 
tors  and  decorators  concerned,  must  be  given  the  credit  of  producing 
in  the  Little  Palace  a  work  worthy  to  be  the  home  of  the  Historic  Ex¬ 
hibit  of  French  Art. 

The  Little  Palace  had  been  destined,  before  even  the  walls  had 
risen  above  the  ground,  to  contain  a  retrospective  history  of  industrial 
art  in  France.  The  program  adopted  presented  a  complete  series  of 
the  diversified  manifestations  of  the  national  genius,  in  the  order  of 
human  activity.  This  project  could  not  be  followed  with  the  severity, 
in  chronology  and  composition,  that  the  organizer,  M.  Molinie,  had 
indicated;  certain  matters,  as  the  history  of  leather  work,  were  not 
represented,  and  glass  work  held  a  place  of  only  minor  importance. 
Outside  circumstances  prevented  M.  Molinie  from  applying  the  precise 
method  that  he  intended  to  establish  in  the  order  of  the  exhibits,  and 
it  was  a  real  achievement  to  be  able  to  gather  together,  in  spite  of  all 
the  difficulties,  such  an  interesting  collection,  composed  of  specimens 
of  the  first  order,  representing  a  long  series  of  centuries.  Of  course 
there  are  some  vacancies  and  omissions,  but  the  study  is  presented  as 
it  never  has  been  before.  No  public  museum  is  able  to  furnish  so  per¬ 
fect  an  arrangement,  and,  although  the  number  of  exhibits  is  consider¬ 
able,  the  arrangement  is  so  happy  that  a  visitor,  as  little  instructed 
as  he  might  be,  can  seize  the  gradation  and  connection  of  artistic  move¬ 
ment  in  France  from  most  remote  times. 

In  fact,  from  the  Gallo-Romanic  epoch  with  its  bronzes,  its  pot¬ 
teries,  its  arms,  to  the  end  of  the  eighteenth  century,  each  epoch  is 
clearly  and  fully  characterized.  Some  relics  are  exhibited  going  be¬ 
yond  the  Gallo-Romanic  epoch,  almost  to  prehistoric  times. 

IO 


200 


THE  PARIS  EXPOSITION. 


The  visitor,  mounting  the  high  steps,  passes  into  an  elliptical  ves¬ 
tibule,  decorated  soberly  with  appliques  of  pink  marble  on  a  base  of 
yellow  marble.  There  he  finds  himself  facing  a  knight  of  the  XVI  cen¬ 
tury,  armed  from  head  to  foot,  and  mounted  on  a  horse  no  less  pro¬ 
tected. 

The  armor  is  that  of  Francis  I.,  which  is  kept  usually  in  the  Gal¬ 
lery  of  Apollon  at  the  Louvre,  and  which  had  been  mounted  on  a 
dummy  horse  belonging  to  the  Museum  of  Artillery.  This  museum  also 
sent  two  other  armored  horses,  and  they  decorate  the  sides  of  the  outer 
hall  which  stretches  the  whole  length  of  the  faqade,  with  large  high 
windows  opening  on  the  gardens  of  Avenue  Nicholas  II. 

The  pedestal  which  supports  the  armor  of  Francis  I.  bears  a  Latin 
inscription,  which,  upon  translation,  reads  as  follows:  “The  King 
Francis,  father  and  restorer  of  the  liberal  arts,  to  all  those  who  visit 
this  edifice  devoted  to  the  arts,  offers  his  best  salutations.” 

At  the  left  end  of  the  outer  hall  is  a  statue,  barbaric  and  massive, 
of  a  Gallic  Mercury,  holding  in  one  hand  a  bag,  and  in  the  other  the 
necessary  rod.  This  rod,  so  roughly  indicated,  awakens  in  the  minds 
of  many  visitors  an  idea  of  a  crosier,  and  they  see  in  this  rough-hewn 
block  a  bishop  of  a  very  remote  period.  The  Mercury  marks  the  en¬ 
trance  to  the  galleries.  It  is  necessary  to  start  there  in  order  to  follow 
the  chronological  order  of  the  exhibition.  These  galleries  form  three 
sides  of  the  building,  enclosing  the  interior  garden  with  its  portico. 
They  are  double,  and  composed  of  halls  placed  side  by  side.  It  is  neces¬ 
sary  to  go  from  one  to  the  other  in  order  to  follow  the  succession  of 
epochs. 

One  sees  first  Gallo-Romanic  and  Merovingian  jewels;  among 
some  bronze  articles  was  a  very  interesting  clasp  of  tarnished  silver 
from  the  museum  of  Lons-le-Saunier.  The  Hall  of  Ivories  contains 


FINE  ARTS. 


201 


some  marvels,  among  others  an  Annunciation,  of  which  the  two  actors, 
the  Virgin  and  the  Angel,  belong  to  different  collectors  and  are  re¬ 
united  here  for  the  duration  of  the  Exposition.  The  articles  of  the 
XIV  Century  are  particularly  interesting.  Farther  on,  among  the 
metal  objects,  the  show-case  devoted  to  brass-work,  attracts  attention, 
with  candle-sticks,  lamps,  etc.,  in  the  most  fantastic  forms.  In  another 
case  are  exhibited  some  Gallo-Romanic  bronzes,  found  in  excavations 
made  in  France,  but  of  Roman,  Greek  and  Etruscan  origin.  In  the 
adjacent  halls  are  placed  some  furniture  of  the  XIV  and  XV  centuries, 
and  some  statuettes  carved  in  a  close-grained  freestone — the  “Weepers 
at  the  Tomb  of  Philip  the  Bold”  and  “A  Woman’s  Head,”  both  of  uni¬ 
versal  reputation. 

Next  come  the  fire-arts;  the  series  of  glassware  is  very  complete; 
the  few  Gallo-Romanic  potteries  present  some  beautiful  pieces.  Then 
glazed  stoneware,  and,  following  that,  the  history  of  the  earthenware 
of  Rouen,  with  beautiful  specimens.  In  the  center  of  the  hall,  in  cases, 
are  the  rarest  pieces  of  Oiron  and  of  choice  Palissy,  notably  two  copies 
of  the  statuette  of  the  nurse.  Then  comes  the  history  of  French  cera¬ 
mics  in  its  great  chapters,  and  permitting,  by  the  proximity  of  objects, 
most  instructive  comparisons. 

The  goldsmith’s  art  in  religions  subjects  shows  many  admirable 
specimens  in  diverse  styles;  images  of  the  saints  in  beaten  gold,  studded 
with  gems  of  marvellous  execution. 

Next  comes  the  stuffed  furniture;  and  here  the  richness  of  the 
time  of  Louis  XIV,  XV  and  XVI  occupies  exactly  half  of  the  halls 
forming  the  retrospective  museum.  It  is  there  the  crowds  gather,  for 
the  fashions  in  our  sumptuary  arts  come  from  that  side.  These  halls 
are  a  revelation  of  that  epoch  of  ceremonious  pomp  and  theatrical 
magnificence.  In  the  neighboring  halls  are  the  specimens  of  the  more 


202 


THE  PARIS  EXPOSITION. 


human  art  that  appeared  with  the  Regency,  with  an  accumulation  of 
the  discoveries  and  inventions  of  all  kinds,  and  a  series  of  tapestries, 
which  are  one  of  the  artistic  glories  of  France. 

Notable  statuary  pieces,  either  within  or  as  ornaments  of  the  Little 
Palace,  is  Injalbert’s  group  representing  Apollo  in  the  midst  of  the 
Muses.  “The  City  of  Paris,”  with  a  gracious  female  seated  at  her  feet, 
symbolizes  the  Seine.  A  colored  stone  image  of  a  hairy,  barbaric  old 
man,  represents  Ocean;  while  a  siren,  with  supple  muscles  and  sweet 
perfidious  caresses,  typifies  the  Mediterranean.  On  the  face  of  the 
Palace  toward  the  Champs  Elysees,  is  a  clock,  decorated,  by  Lemaire, 
with  models  of  the  three  Fates,  and  by  emblematic  figures  representing 
Day  and  Night. 


MEN  AND  WOMEN  OF  TUNIS.  A  BEDOUIN  SHEIK. 


Literature,  Science  and  Arts. 


r 


S  these  are  associated  with  Education,  what  so  natural  as  to 
look  for  them  in  connection  with  Group  I,  or  that  devoted 
to  Education  and  Instruction,  described  in  previous  pages 
of  this  work.  Under  the  comprehensive  arrangement  of 
M.  Picard,  the  Literature,  Science  and  Arts  (not  Fine  Arts) 
of  the  world  came  to  constitute  Group  III  of  the  Interna¬ 


tional  Exposition  of  1900.  It  was  given  a  home  in  that  magnificent 
Palace  which  ornamented  the  right,  or  northwest,  corner  of  the  beautiful 
Champ  de  Mars,  as  one  entered  its  esplanade  from  the  northern,  or  Eiffel 
Tower,  end.  This  grand  Palace  of  Literature,  Science  and  Arts,  and  of 
Education  and  Instruction,  needs  no  further  portraiture,  as  to  position 
and  architecture,  than  that  found  under  the  head  of  the  article  upon 
Education. 

But  as  in  that  article  it  was  not  necessary,  nor  even  possible,  to  de¬ 
scribe  more  of  the  interior  arrangement  of  the  Palace  than  that  which 
appertained  to  educational  exhibits,  it  now  becomes  proper  to  get  a  fuller 
and  more  explicit  idea  of  this  interior,  in  order  to  locate  and  study  the 
various  classes  of  exhibits  comprehended  under  Group  III,  or  the  Group 
devoted  to  Literature,  Science  and  Arts.  First,  however,  it  would  be 
well  to  learn  the  classes  of  this  Group,  remembering  that  their  numbers 
began  where  those  of  Group  II  left  off.  The  classification  of  the  Group 
ran  thus: 

Class  11.  Typography — Various  Processes. 

Class  12.  Photography. 

Class  13.  Books,  Musical  Publication,  Book-binding,  Newspapers, 


Posters. 


205 


206 


THE  PARIS  EXPOSITION. 


Class  14.  Maps,  Apparatus  for  Geography,  Cosmography,  Topog¬ 
raphy. 

Class  15.  Mathematical  and  Scientific  Instruments,  Coins,  Medals. 

Class  16.  Medicine  and  Surgery. 

Class  17.  Musical  Instruments. 

Class  18.  Theatrical  Appliances  and  Plant. 

Now  on  passing  through  the  central  porch  of  the  Champ  de  Mars 
facade,  and  entering  the  principal  door  of  the  Palace,  one  was  immedi¬ 
ately  in  the  midst  of  the  objects  which  constituted  Group  III,  that  is,  the 
exhibits  which  illustrated  the  world’s  Literature,  Science  and  Arts  (not 
Fine  Arts). 

On  the  right  hand  was  Class  17,  allocated  to  Musical  In¬ 
struments.  Here,  those  found  a  genial  atmosphere  and  a  gratification 
of  eye  and  ear,  who  were  interested  in  the  “concord  of  sweet  sounds.” 
So,  too,  the  genius  of  those  who  were  interested  in  the  manufacture  of 
musical  appliances  of  every  kind  found  full  exercise,  for  the  display  was 
gorgeous  and  exhaustive  of  the  class.  There  were  wind  instruments  of 
brass  and  wood  of  every  size  and  conceivable  form ;  stringed  instru¬ 
ments,  exhaustive  of  styles  and  models ;  pianos,  of  ever  variant  size  and 
quality ;  metal  wind  instruments,  variable  in  tone  as  the  throat  of  mock¬ 
ing  bird,  plain  in  form  or  with  pieces  lengthening  as  the  telescope ;  mus¬ 
ical  slides,  pistons,  keys,  reeds,  and  uncountable  other  ingenious  appli¬ 
ances  for  varying  tones  and  affording  comfort  for  performers ;  other  wind 
instruments  with  keyboards,  such  as  organs,  accordeons,  etc. ;  every 
model  of  percussive  instrument,  such  as  drums,  tom-toms,  gongs,  cym¬ 
bals,  etc. ;  automatic  instruments,  in  all  their  glory  of  notes  and  sounds, 
not  even  excepting  the  much  abused  and  commonplace  hand-organ; 
bird  organs,  musical  boxes,  in  short,  any  and  every  sound  producing  in¬ 
strument  the  genius  of  man  has  called  into  being  for  harmonious  assaults 
on  the  sense  of  hearing.  Then  there  were  infinite  separate  parts  of  mus- 


LITERATURE,  SCIENCE  AND  ARTS. 


207 


ical  instruments  whose  uses  and  places  in  instrumental  mechanism  ex¬ 
cited  curiosity  and  wonder. 

All  this  was  what  a  first  and,  of  course,  a  more  or  less  hasty  and  con¬ 
fused  view  of  what  exhibit  17  revealed.  But  such  a  view  was  unfair  to 
visitor  and  exhibit,  for  infinitely  various  as  the  objects  were,  and  as  per¬ 
verse  as  they  were  in  their  nature  for  classification,  the  display  was  ar¬ 
ranged  by  M.  Lyon,  President  of  the  Class  (17)  with  the  most  exquisite 
taste,  and  in  the  most  intelligent  and  comprehensive  manner.  Nor  did 
this  first  view  embrace  all  of  the  space  devoted  to  the  exhibit.  It  only 
took  in  that  part  of  it  found  on  the  ground  floor.  To  complete  the  sur¬ 
vey,  one  had  to  remember  that  the  first  floor  (second  story)  contained 
almost  an  equal  space  devoted  to  musical  instruments,  and  that  here  were 
found  the  larger,  weightier  and  grander  instruments  such  as  pianos  and 
organs,  while  the  smaller  instruments  of  string  and  wind  were  limited  to 
the  ground  floor.  After  the  instruments  themselves,  on  the  first  floor 
(second  story),  was  a  great  attraction  in  the  form  of  the  Concert  Room. 
It  was  set  apart  by  means  of  a  glazed  frame-work  and  draped  awnings, 
and  had  a  seating  capacity  of  500  people.  Here  were  held  specimen 
performances  on  the  various  instruments  upon  exhibition.  These  per¬ 
formances  frequently  took  the  form  of  stated  concerts,  in  which  the 
orchestras  of  the  large  musical  establishments  of  Paris,  with  their  soloists, 
organists,  quartettes,  and  performers  of  chamber  music  took  a  part. 
And  these  performances  were  further  varied  by  the  playing  upon  instru¬ 
ments  representing  various  musical  periods  or  epochs,  by  concerts  of 
foreign  music  on  instruments  manufactured  in  each  country,  and  by  con¬ 
certs  of  purely  French  music  on  instruments  appropriate  to  the  compo¬ 
sitions  and  places  of  performance.  As  an  historic  adjunct  to  the  entire 
musical  exhibit  was  the  Centennial  Museum,  exceedingly  rich  and  full 
of  interest,  both  artistic  and  retrospective.  Here  were  seen  several  old 
violins  of  the  famous  Stradivarius  make,  and  some  still  earlier  instru- 


2o8 


THE  PARIS  EXPOSITION. 


merits  by  Saxe.  A  primitive'  piano  stood  close  by,  dating  from  1636. 
It  was  accompanied  by  a  clavichord,  dating  from  1567.  Then  there  was 
a  viole  d’amore  (love  violin)  of  the  seventeenth  and  eighteenth  centuries ; 
a  Louis  XIV  hapsichord  with  two  keyboards;  a  Dutch  hapsichord  with 
three  keyboards,  dated  1616;  an  entire  array  of  instruments  belonging 
to  Gand  and  Pupot ;  an  eleventh  century  harp ;  an  ivory  musette  of  the 
year  1701 ;  a  hurdy-gurdy  by  Powet;  a  lyre  by  Pleyel,  made  early  in  the 
century ;  a  pair  of  bagpipes  from  the  Bourbonuais  of  the  eighteenth 
century;  an  ancient  theorbo  or  arch-lute;  an  imense  harpsichord  over  18 
feet  long,  the  only  specimen  of  its  kind  in  the  world.  Phonographic 
science,  which  was  found  exemplified  in  other  parts  of  the  Exposition  of 
1900,  was  introduced  into  this  musical  section,  on  acount  of  the  perfec¬ 
tion  of  the  sounds  emitted.  The  principles  of  phonography  were  shown 
to  have  undergone  rapid  changes  within  a  few  years,  and  as  applied  to 
musical  sounds,  instruments  had  been  constructed  almost  entirely  free 
from  the  disagreeable  nasal  tones  which  hitherto  accompanied  them. 

As  above  stated,  this  Class  17  (Musical  Instruments)  of  Group  III, 
was  found  on  the  right  hand  side  of  the  corridor,  immediately  after  en¬ 
tering  the  Palace.  On  the  oposite  side  of  the  corridor,  on  the  ground 
floor,  was  found  Class  15  of  the  Group,  or  the  Class  devoted  to  Math¬ 
ematical  and  Scientific  Instruments,  and  to  Coins  and  Medals.  It  was 
found  convenient  to  enter  and  inspect  it,  though  to  have  followed  the 
M.  Picard  classification,  one  should  have  gone  to  Class  11  the  first  class 
of  the  Group.  Passing,  therefore,  into  the  section  embracing  Class  15? 
it  was  found  replete  with  instruments  of  precision — mathematical  and 
scientific  instruments,  ending  up  with  coins  and  medals. 

There  in  profusion  were  found  apparatus  and  instruments  for  prac¬ 
tical  geometry,  land  surveying,  topography  and  geodesy.  There  were 
compasses  innumerable,  calculating  machines,  levels,  barometers,  and 
such  like  indicators  of  temperature,  moisture  and  dimensions.  There 


LITERATURE,  SCIENCE  AND  ARTS.  *09 

were  all  kinds  of  measuring  instruments,  optical  instruments,  astronom¬ 
ical  instruments,  instruments  used  in  physical  research  and  in  meteor¬ 
ology;  apparatus  intended  for  laboratories  and  observatories  ;  microm¬ 
eter  screws,  dividing  machines,  sensitive  scales  for  scientific  purposes; 
weights  and  measures  of  the  different  countries. 

Next  came  the  plant  for  manufacturing  coins  and  medals.  This 
part  of  the  Exhibition  began  with  appliances  for  weighing  metal,  test¬ 
ing  the  standard  of  alloys,  casting,  tapping,  rolling,  stamping  out,  mill¬ 
ing,  washing,  verifying  the  weight  of  coins,  striking  and  checking  them 
before  delivery,  also  the  plant  for  making  stamps  and  dies.  Coins  and 
medals  were  shown  in  great  variety,  and  there  were  many  works  on  coin¬ 
age  dealing  with  the  economical,  statistical  and  other  points  of  view. 
The  National  Mint  exhibited,  as  in  1889,  a  stamping  machine,  which 
was  worked  in  the  presence  of  the  public.  Close  to  the  rotunda,  on  the 
left,  by  the  entrance  were  seen  the  first  forty  franc  and  hundred  franc 
pieces  bearing  the  effigy  of  the  Republic,  engraved  by  the  Chaplain,  also 
Roty’s  great  Sower  (five  franc  piece).  In  a  small  section  of  Class  15 
was  an  exhibit  showing  how  spectacle  glasses  are  manufactured ;  other 
sections  showed  M.  Gautier’s  monster  telescope,  19  feet  long;  opera- 
glasses,  microscopes  and  sensitive  glasses.  There  was  a  very  interest¬ 
ing  Retrospective  Museum  connected  with  this  Class,  which  appeared, 
among  other  ancient  and  curious  things,  an  antique  coining  machine  of 
the  time  of  Louis  XIV,  and  a  large  and  valuable  collection  of  ancient 
coins  and  medals. 

After  exhausting  Class  15,  one  could  go  with  pleasure  and  profit 
to  Class  1 1  of  Group  III,  that  is  to  the  Class  embracing  Typography  and 
the  various  printing  processes.  This  Class  involved  large  and  heavy 
machinery,  and  was,  therefore,  found  installed  in  an  annex  of  the  Palace, 
fronting  on  the  Avenue  Suffren.  Here  were  seen  all  the  material  and 
plant  used  in  printing  and  typography,  and  the  production  of  those  arts 


210 


THE  PARIS  EXPOSITION. 


— printing  presses,  machinery  and  apparatus  used  in  typography,  lith¬ 
ography,  copper-plate  engraving  and  printing,  autography,  vincog- 
raphy;  specimens  of  printing — chromotype,  typo,  litho  and  chromo- 
litho  printing;  phototype,  numerous  methods  of  engraving,  simili- 
gravure,  heligravure,  photogravure,  plates  by  every  known  process,  type 
founding,  machinery  without  end.  In  the  department  allotted  to  ma¬ 
chines  for  setting  up  and  assorting  type,  the  Linotype  machine  had  a 
splendid  display  of  its  wonderful  automatic  powers.  Then  there  were 
special  private  displays  of  up-to-date  presses  and  cutting  and  folding  ma¬ 
chines,  equal  to  the  task  of  turning  out  80,000  sheets  an  hour.  There 
were  also  type  writing  machines  of  many  varieties,  operated  by  skilled 
typists,  and  specimens  in  black  and  color  typography,  proofs  and  pos¬ 
ters,  etc.  The  Retrospective  Museum  of  this  Class  was  arranged  so  as 
to  give  a  regular  history  of  the  typographic,  litographic  and  engraver’s 
art. 

Among  the  many  wonderful  exhibits  of  this  Class,  perhaps  the  one 
that  left  the  deepest  impression  was  the  Linotype  Composing  Machine. 
The  Engineering  Journal  considers  it  the  most  remarkable  machine  of 
the  century.  It  is  the  outcome  of  about  twelve  years  of  continuous  ex¬ 
periment  and  invention,  and  the  expenditure  of  a  sum  of  money  very 
nearly  approaching  a  million  pounds  sterling.  It  marks  the  first  and 
only  successful  departure  from  the  long-established  forms  of  movable 
type  and  the  primitive  methods  of  hand  composition.  It  is  the  only 
machine  which  is  in  practical,  successful  use  in  any  considerable  num¬ 
ber  of  printing  offices,  and  the  only  machine  which  has  effectually  with¬ 
stood  the  test  of  time. 

Many  machines  and  processes  were  developed  by  its  inventor  and 
his  associates,  each  marking  an  advance  in  the  art.  First  in  order  were 
matrix  machines,  designed  to  punch  letters  one  after  another  in  lead  or 
papier-mache,  and  thus  produce  a  page  or  column  matrix  from  which  t@ 


LITERATURE,  SCIENCE  AND  ARTS.  t\ t 

cast  a  stereotype  at  a  subsequent  operation.  Next  came  machines  in 
which  a  number  of  dies  were  composed  in  a  line,  the  line  justified,  and 
the  entire  line  then  impressed  at  one  operation  in  some  matrix  material. 
During  the  development  of  the  matrix  machine  the  revolutionary  step 
was  taken  of  casting  from  the  machine-made  matrices  independent  type¬ 
lines  or  slugs,  now  known  the  world  over  as  “linotypes. ”  This  raising 
of  the  unit  of  composition  from  a  single  letter  to  a  line,  the  production  of 
each  line  complete  and  independent  of  the  others,  has  proved  to  be  the 
most  radical  and  important  invention  in  the  printing  art  since  the  days 
of  Guttenburg,  Koster  and  Caxton. 

The  next  and  last  great  improvement  was  the  production  of  a  ma¬ 
chine  in  which  the  linotypes  were  produced  instantly  and  ready  for  use 
on  the  press  by  the  mere  fingering  of  keys  like  those  of  a  type-writer, 
the  keys  serving  to  assemble  temporarily  in  line  metal  matrices  bearing 
individual  letters,  against  which  the  slugs  or  linotypes  were  cast  in  type 
metal.  This  machine,  known  to-day  in  every  land  as  the  Linotype,  is 
now  extensively  made  in  two  factories  in  the  United  States,  one  in  Eng¬ 
land,  one  in  Canada,  and  another  in  Germany,  giving  employment  to 
some  three  or  four  thousand  hands ;  and  it  is  being  regularly  employed 
in  most  of  the  leading  newspaper  offices  of  the  world,  and  also  by  many 
hundreds  of  book  and  general  printers.  Operated  by  a  single  person, 
the  machine  produces  and  assembles  linotypes  ready  for  the  printing 
press  at  the  rate  of  from  6,000  to  20,000  letters  per  hour.  It  produces 
finished  matter  of  the  highest  quality.  It  permits  the  face  or  style  of 
type  to  be  changed  at  will.  It  allows  the  operator  to  read  and  correct 
his  matter  as  he  proceeds,  thus  avoiding  the  usual  errors  in  correction. 
Any  person  of  intelligence  can,  in  a  few  days,  become  a  good  operator, 
and  in  a  few  weeks  an  expert. 

The  first  Linotype  machines  were  introduced  into  a  printing  office 
in  the  United  States  in  1886.  They  entered  the  first  office  in  Great 


2r2 


THE  PARIS  EXPOSITION'. 


Britain  in  1890,  and  succeeded  in  doing  most  satisfactory  work.  But  it 
was  decided  to  develop  and  improve  the  invention  to  its  fullest  possible 
extent.  To  this  end  the  action  of  the  machines  was  carefully  watched, 
the  requirements  of  the  printing  office  were  studied,  and  the  advice  of 
skilled  printers  and  mechanics  was  sought  in  all  directions.  In  the  light 
of  the  information  thus  gained,  the  machine  has  been  modified,  im¬ 
proved,  increased  in  capacity,  and  made  adjustable  or  convertible  to 
meet  every  demand.  New  tools  and  machinery  have  been  devised,  and 
the  “interchangeable”  system  employed  in  the  manufacture  of  all  its 
parts.  The  result  is  the  present  standard  Linotype,  a  machine  marvel¬ 
lous  in  speed,  approaching  perfection  in  the  quality  of  its  products,  and 
unsurpassed  in  the  perfection  and  action  of  its  diversified  movements. 

Class  1 2  of  Group  III  was  devoted  to  Photography.  This  Class 
was,  in  a  manner,  a  museum  of  photographic  art  and  industry.  All  the 
great  makers  exhibited  their  most  perfectly-finished  apparatus  of  every 
description;  and  along  the  frieze  one  admired  some  exceedingly  fine 
photographic  proofs  and  prints.  The  most  varied  processes  were  exem¬ 
plified  by  these  proofs,  on  glass,  on  stuff,  on  wood,  011  enamel;  photo¬ 
graphs  in  color  of  moving  objects,  etc.  Photogravure,  which  was  al¬ 
ready  represented  in  the  typographical  class,  was  thereby  illustrated  in 
some  very  fine  plates. 

This  scientific  application  of  the  art  of  photography  was  there  shown 
by  a  series  of  X-ray  plates,  enlargements  of  exceedingly  small  photo¬ 
graphs  (micrography  photoniscroscopic  prints),  photographs  of  celes¬ 
tial  bodies  and  of  rays  of  light;  by  stellar  and  lunar  photographs,  etc., 
The  Observatory,  and  the  great  savants  Lippmann,  Segrey,  Dr.  Brouar- 
del,  Flammarion,  Hottery,  were  all  there,  with  the  most  curious  results 
of  scientific  photography ;  and,  to  conclude,  let  us  mention  the  Maison 
Lumiere  (Illuminated  Mansion),  which  offered  the  most  perfect  of  cin¬ 
ematographs  in  full  work.  This  placed  at  the  entrance  to  the  Class,  and 


GROUP  OF  MINERS— BUILDING  OF  MINES  AND 
METALLURGY. 


LITERATURE,  SCIENCE  AND  ARTS. 


2*5 


a  tastefully  decorated  door-way  drew  attention  to  the  fact.  The  ceiling 
that  covered  this  Class  was  a  remarkable  piece  of  work  by  the  painter 
Noel  Bouton.  In  the  Retrospective  Collection  this  Class  was  repre¬ 
sented  by  a  collection  of  old-fashioned  apparatus,  among  which  a  few 
primitive  Daguerrotype  cameras  ranked  as  real  historical  curios. 

On  one  side  and  in  the  centre  of  the  huge  square  formed  by  the 
annex  erected  for  Class  1 1,  were  found  the  exhibits  which  made  up  Class 
13  of  Group  III,  that  is,  the  Class  embracing  Books,  Musical  Publica¬ 
tions,  Book-binding,  Newspapers,  Posters,  etc.  The  displays  rep¬ 
resented,  in  general,  publications  sent  out  by  publishers  of  every  kind ; 
books,  magazines  and  other  periodical  publications,  musical  publica¬ 
tions,  newspapers,  and  posters;  the  materials,  processes,  and  products 
of  the  stitching  and  binding  trade ;  and  also  colored  printing  and  illum¬ 
ination.  The  special  collection  sent  by  the  Publishers  Association  of 
Great  Britain  and  Ireland,  contained  some  magnificent  specimens  of  the 
publishers’  art,  as  did  the  collections  of  other  countries. 

The  publishers  of  posters  and  pictorial  advertisements  exhibited  an 
array  of  the  works  produced  by  the  foremost  masters  of  an  art  which 
has  attained,  within  the  last  few  years,  an  important  position,  among 
the  original  results  of  artistic  ingenuity.  One  noticed  with  pleasure  the 
engravings  from  certain  fine  editions  de  luxe,  and  the  splendid  book¬ 
bindings,  both  in  the  antique  and  in  the  modern  taste.  There  was  no 
room  for  the  illuminators  elsewhere,  and  they  were  accordingly  hospit  ¬ 
ably  housed  in  Class  13.  This  fact  was  duly  noted  by  the  admirers  of 
this  dainty  and  delicate  art. 

The  Retrospective  Museum  of  this  Class,  which  was  in  the  centre 
of  the  Palace,  was  rich  in  curiosities,  and  of  the  rarest  kind.  One  spec¬ 
ially  noted  the  collection  of  manuscript  letters  belonging  to  the  Due  de 
la  Tremoilles  (letters  from  monarchs  of  every  period);  a  collection  of 
books  bearing  the  arms  of  Richelieu ;  a  marvellous  Book  of  Hours,  in 


216 


THE  PARIS  EXPOSITION. 


MS.,  which  belonged  to  Queen  Mary  of  Aragon ;  a  collection  of  a  thous¬ 
and  books,  microscopically  small  in  size ;  and  a  History  of  Bookbinding, 
illustrated  by  the  greatest  binders,  lent  from  the  Gruel  collection. 

Class  14  of  the  Group  embraced  Maps  and  Apparatus  for  Geog-( 
raphy,  Cosmography  and  Topography,  and  it  was  an  interesting  and  in¬ 
structive  Class  to  those  who  admired  fine  maps,  whether  plane  or  in 
relief,  physical,  geological,  hydrographical,  astronomical,  topographical, 
statistical,  symbolical,  or  of  whatever  kind.  Surely  every  taste  could 
have  been  gratified  by  those  splendid  displays.  In  the  Retrospective 
Collection  of  this  Class  there  appeared  a  curious  collection  of  ancient 
maps  belonging  to  Prince  Roland  Bonaparte,  and  some  very  interesting 
globes  of  the  seventeenth  and  eighteenth  centuries. 

Class  15  has  been  already  visited  in  connection  with  Class  17.  One 
therefore  went  naturally  from  Class  14  to  Class  16  of  the  Group,  or  that 
Class  representing  Medicine  and  Surgery.  This  was  deserving  of  a 
thoughtful  visit.  It  contained  all  sorts  of  improved  instruments  of  sur¬ 
gery  ranged  in  glass  cases — delicate,  brightly  polished,  artistically 
curved,  in  nickel,  in  silver,  in  gold,  just  as  you  chose — bistouries,  lancets, 
nippers,  saws,  scalpels,  scissors,  forceps,  etc.  There  were  bacteria,  the 
microbes  of  the  past  century,  the  far-famed  bacilli ;  then  dressing  appli¬ 
ances  ;  others  for  practical  and  mechanical  prothesis ;  orthopaedic  appli¬ 
ances,  too ;  those  used  in  cases  of  surgical  hernia,  and  for  special  thera¬ 
peutic  needs.  There  were  dentists’  instruments,  strait-waistcoats,  in¬ 
valid  beds,  crutches,  wooden  legs,  cases  of  instruments  for  army  sur¬ 
geons,  all  the  Red  Cross  aids  for  the  wounded,  and  all  the  appliances  for 
restoring  respiration  to  drowning  or  suffocating  subjects. 

The  Retrospective  Collection  of  this  Class  was  installed  with  that 
of  Class  14,  and  it  embraced  several  private  collections,  showing  the 
surgical  instruments  of  other  days. 


LITERATURE,  SCIENCE  AND  ARTS. 


217 


Class  18,  the  last  Class  of  Group  III,  was  devoted  to  displays  illus¬ 
trative  of  Theatrical  Appliances  and  Plant.  The  arrangement,  decora¬ 
tions  and  all  that  made  this  Class  one  of  the  most  interesting  of  the  Ex¬ 
position  were  prepared  and  superintended  by  M.  Raynaud,  the  architect 
of  the  Opera.  It  was  aranged  in  two  groups  on  each  side  of  the  princi¬ 
pal  pasages-way,  about  16  feet  wide,  running  through  the  Hall  along 
the  Champ  de  Mars.  The  first  group,  on  the  right-hand  side  of  this 
passage-way,  as  one  moved  towards  the  Palace  of  Civil  Engineering,  con¬ 
sisted  of  three  great  scenes,  each  covering  a  surface  of  233  feet,  and  as¬ 
signed  to  the  master  of  decorative  art  in  the  truest  sense  of  the  word, 
that  is,  the  art  of  Theatrical  Scenery.  On  the  first,  Garubon  had  un¬ 
folded  a  succession  of  wondrous  landscapes — the  Seasons.  On  the  sec¬ 
ond,  Amable  had  depicted,  with  his  usual  skill  and  talent,  the  exquisite 
legend  embodied  in  Schubert’s  Erl-konig.  The  music  was  expressed 
in  the  most  harmonious  fashion  by  M.  M.  Pathe’s  phonograph,  while 
on  the  canvas  in  the  background  the  strange  dream  rolled  by  before  the 
enchanted  gaze.  One  saw  the  darkness,  the  thunderbolt,  the  conflagra¬ 
tion,  the  rain,  the  forest  moving  on,  and  so  forth.  On  the  third,  Car- 
pezat  had  exerted  all  his  technical  skill  and  all  his  powers  of  artistic  evo¬ 
cation  in  a  series  of  transformation  scenes.  First  one  beheld  a  public 
square,  with  a  cathedral  in  the  background.  The  canvas  unrolled,  the 
scene  changed ;  and  we  had  the  entrance  to  the  church,  then  the  interior, 
and  soon  the  whole  religious  ceremony  was  enacted  before  one’s  eyes. 

Each  of  these  scenes  measured  16  feet  by  14.  They  constituted  a 
very  exact  reduction  of  our  large  theatrical  scenes.  The  public  watched 
the  sight  from  a  gallery  in  front  of  the  stage,  which  was  reached  through 
wooden  porticos,  carved  and  gilt,  with  portieres  by  M.  M.  Belloi.  The 
exhibition  took  place  several  times  daily,  and  also  at  night.  The  light¬ 
ing  was  a  special  feature,  supplied  from  the  works  in  the  Av.  de  la  Bour- 
donnais. 


2-3 


THE  PARIS  EXPOSITION. 


The  second  group  comprised  the  exhibits,  properly  so  called,  of  the 
material  objects  connected  with  theatrical  art.  In  the  glass  cases  on 
the  left  of  the  landscape  were  found  sparkling  jewels  and  trinklets,  some 
of  them  marvels  of  the  jeweller’s  art;  girdles  set  with  precious  stones, 
armour  damascened  work,  wigs  and  false  hair,  fleshings  and  theatrical 
costumes  bearing  the  unmistakable  mark  of  such  real  artists  as  Gutperle, 
Halle,  Soisel,  Millet,  Lapont,  an  others.  Opposite  these  glass  cases  on 
the  left,  the  scene-painters  offered  an  exhibit  of  a  very  special  form  ox 
art,  very  difficult  of  attainment,  only  accessible,  indeed,  to  a  few  really 
gifted  natures.  The  rough  sketches,  to  the  number  of  18,  were  on  the 
scale  of  0.5.  They  were  all  of  them  unpublished  compositions.  Side 
by  side  with  Chaperon  (Panorama  of  Paris),  Carpezat,  Moisson,  Rouffin- 
Rubbe  (who  have  succeeded  their  grandfathers),  Rubbe,  Amable,  Jam- 
bon,  and  Henri  Riviere,  there  were  some  still  younger  men  of  very  great 
talent. 

A  passing  glance  had  to  be  bestowed  on  the  drawings  of  costumes 
by  Choubrac,  Thomas,  Henriot,  and  their  rivals.  A  halt  had  also  been 
made  to  again  study  the  perfection  reached  by  the  latest  phonographs, 
which  had  their  place  there  under  the  head  of  theatrical  apparatus,  and 
the  survey  ended  with  the  Centennial  Exhibition  close  to  the  group  of 
the  liberal  arts  in  Russia.  One  room  was  given  up  to  a  reconstitution 
of  the  apartment  of  Mile.  Mars ;  a  second  to  a  collection  of  portraits  of 
the  great  dramatic  and  lyric  artists  of  the  century,  of  historical  souven¬ 
irs  ;  a  third  contained  a  series  of  rough  sketches  by  deceased  great  decor¬ 
ators  of  the  past  century;  and  to  conclude,  the  last  room  was  devoted 
to  sketch  models  of  costumes.  Here,  with  the  aid  of  wax  figures,  were 
given  reproductions  of  the  dresses  worn  by  performers  in  Gluck’s  Ar- 
mida  at  various  periods,  from  the  original  creation  (1 777)  to  the  repro¬ 
duction  in  the  middle  of  the  nineteenth  century,  and  down  to  the  last 
charming  performance  at  the  Grand  Opera. 


GROUP  OF  IRON  WORKERS -BUILDING  OF  MINES  AND  PALACE  OF  FINE  ARTS — ST  AT  U  A  R  Y  HALL- 

METALLURGY. 


LITERATURE,  SCIENCE  AND  ARTS. 


221 


In  this  department,  as  in  1889,  was  an  array  of  costumed  figures. 
A  history  of  dancing  was  sketched  out  by  means  of  some  pretty  statu¬ 
ettes,  which  M.  Raynaud,  the  ingenious  organizer  of  this  brilliant  dis¬ 
play,  had  been  at  much  pains  to  collect. 


/ 


11 


Machinery. 


r 


visiting  the  palatial  structure  devoted  to  Machinery  and 
Mechanical  Engineering,  one  again  made  a  passage 
southerly  from  the  beautiful  and  variegated  grounds  of 
the  Eiffel  Tower,  and  entered  those,  even  more  beautiful 
and  bewildering,  of  the  Champ  de  Mars  (Garden  of 
Mars).  This  time  a  halt  was  not  made  at  the  entrance 
of  the  Camp  or  Garden,  as  when  the  Palace  of  Education,  Literature, 
Science  and  Art  was  visited,  nor  yet  upon  the  right  wing  or  side  of  the 
Camp,  but  the  journey  proceeded  along  the  left  (easterly)  side  or  wing, 
past  the  gorgeous  facades  of  the  Palace  of  Mines  and  Metallurgy  and  the 
Palace  of  Textiles,  Tissues  and  Vestments,  and  to  that  Palace  which 
marked  the  objective  for  the  time  being,  to  wit,  the  Palace  Mechanique, 
or  Palace  of  Machinery  and  Mechanical  Engineering.  This  Palace, 
noted  for  immensity  and  spaciousness  rather  than  for  any  particularly 
beautiful  architectural  effects  had  for  its  opposing  Palace  on  the  Camp 
that  of  Chemical  Industries,  and  both  of  these  Palaces  were  the  last 
whose  facades  fronted  full  on  the  Camp,  for  thereabouts  the  magnificent 
proportions  of  the  Palace  of  Electricity  rose  directly  across  the  Camp, 
closing  the  vista  with  its  brilliancy.  But  though  the  full  front  effects  of 
both  these  Palaces  were  thus  lost,  the  proportions  and  interior  show  ef¬ 
fects  of  the  Machinery  Palace  extended  back  past  the  Palace  of  Elec¬ 
tricity,  and  clear  across  the  rear  of  that  Palace  to  the  right,  or  Suffren 
Avenue,  side  of  the  Champ  de  Mars. 

Before  entering  this  Grand  Palace  of  Machinery  and  Mechanical 

Engineering,  one  should  have  understood  also  its  place  in  the  M.  Picard 

223 


2?4 


THE  PARIS  EXPOSITION. 


plan  of  arrangement  of  Exhibits,  and  of  the  excellence  of  this  plan  too 
much  cannot  be  said,  especially  as  it  related  to  those  mighty  and  mov¬ 
ing  mechanisms  which  ordinarily  constitute  a  department  of  machinery 
and  mechanical  engineering.  Generally  speaking,  at  all  former  Expo¬ 
sitions,  National  or  International,  arrangements  for  the  exhibits  of  ma¬ 
chinery  and  mechanical  departments  have  been  carried  out  on  the  same 
lines.  The  most  capacious  gallery  or  hall  possible  having  been  con¬ 
ceived  and  erected,  steam  generators,  motors  and  all  kinds  of  manufac¬ 
turing  engines,  were  rushed  into  the  space  and  crowded  indiscrimin¬ 
ately  side  by  side,  without  regard  to  their  individual  characteristics  and, 
too  often,  without  reference  to  their  purposes.  This  indiscriminate 
method,  or  rather  this  lack  of  method,  involved  the  necessity,  owing  to 
the  difficult  position  in  which  exhibitors  found  themselves,  of  carrying 
all  important  questions  of  transport,  which  required  belts,  bands  and 
fixed  machinery,  to  within  a  certain  distance  of  the  motive  power  ap¬ 
pointed  for  the  work;  and  even  to  secure  this  essential  of  nearness  of 
power  was  rendered  almost  next  to  impossible  owing  to  the  incongruous 
medley  of  collections  which  it  necessitated. 

But  thanks  to  the  discoveries  and  inventions  in  electricity,  which 
have  enabled  the  industries  to  deal  speedily  and  satisfactorily  with  all 
matters  concerning  the  transmission  of  motive  power,  it  was  found  pos¬ 
sible  to  proceed  on  other  and  more  intelligent  and  convenient  lines  of 
plan  and  arrangement  at  the  International  Exposition  of  1900,  and  to 
set  up  together  and  convey  the  necessary  power  to  those  sections  of 
plant  only  which  bore  a  certain  affinity  to  one  another.  Pursuing  these 
new  lines  of  plan  and  arrangement,  the  exhibition  of  Machinery  and 
Mechanical  Engineering  of  the  Exposition  of  1900  fell  into  Group  IV 
of  the  Picard  system,  and  Group  IV  had  for  its  subdivisions  the  follow¬ 
ing  Classes,  the  numbers  beginning  where  those  of  Group  III  left  off : 

Class  19.  Steam  Engines. 


HUNGARIAN  ANIMAL,  GROUP  AND  DIORAMA,  IN  PARAGE  OP  FORESTRY. 


MACHINERY. 


2*7 


Class  20.  Various  Kinds  of  Engines  and  Motor  Machines. 

Class  21.  General  Mechanics  and  Specimens  of  General  Mechan¬ 
ism. 

Class  22.  Tools  and  Mechanical  Implements. 

Class  19,  or  that  of  Steam  Engines,  contained  two  leading  sections, 
one  French,  the  other  foreign,  each  containing  engines  of  a  capacity  of 
10,000  horse-power.  This  was  quite  in  contrast  with  the  arrangement 
of  the  Exposition  of  1889,  when  all  the  boilers  generating  steam  were 
grouped  together  in  a  single  building  behind  the  Pavilion  of  Machinery. 
And  just  here  it  must  be  noted,  that  a  most  striking  and  complimentary 
feature  of  the  Exposition  of  1900,  as  compared  with  that  of  1889,  was  the 
great  development  shown  in  the  use  of  tubular  and  multitubular  boilers, 
the  greater  part  of  which  were  provided  with  improved  systems  of  firing 
and  grates.  Perhaps  the  greatest  improvement  was  found  in  boilers 
devoted  to  naval  purposes,  but,  in  general,  the  increase  in  motive  power 
ranged  from  250  up  to  3000  horse-power,  as  compared  with  that  estab¬ 
lished  by  the  exhibits  of  1889.  Of  the  20,000  horse-power  generated  in 
the  two  sections  mentioned  (French  and  foreign),  5,000  horse-power 
was  directly  available  and  ample,  owing  to  the  increase  of  electric  force, 
for  driving  every  description  of  engine  over  the  whole  extent  of  the 
Exposition,  by  the  use  of  conducting  cables.  The  balance  of  this  avail¬ 
able  horse-power  was  devoted  to  the  lighting  of  the  Exposition,  and  of 
this  a  surprising  part  went  ,to  produce  the  enchanting  effects  seen  at  the 
Palace  of  Electricity  and  Chateau  D’Eau — Castle  or  Grotto  of  Water. 

There  is  hardly  anything  more  awe  inspiring  than  a  monster  en¬ 
gine.  It  is  the  embodiment  of  such  gigantic  power  that  one  is  bewildered 
in  witnessing  its  subjugation  to  the  laws  of  control,  and  its  rythmic  move¬ 
ments  in  obedience  to  the  spirit  of  mechanism.  And  then,  to  think,  the 
beginning  of  the  century  knew  no  such  creation,  or  if  so,  only  as  a  toy 
for  scientists  and  mechanical  engineers  to  speculate  over.  During  the 


228 


THE  PARIS  EXPOSITION. 


first  quarter  of  the  century  the  largest  engine  built  consumed  eleven 
pounds  of  coal  per  hour  for  every  horse-power  produced.  Twenty 
years  ago  an  engine  that  consumed  only  two  and  a  half  pounds  of  coal 
per  hour  for  every  horse  power  produced,  was  looked  upon  as  a  mar¬ 
vel.  Standing  amid  the  mazes  of  the  gigantic  machinery  that  pulsated 
within  the  walls  of  the  Palace  on  the  Champ  de  Mars,  one  witnessed  an 
average  consumption  of  coal  per  hour  for  condensing  machines,  far  be¬ 
low  figures  dreamed  of  a  decade  ago,  and  in  this  reduction  saw  one  of 
the  most  desirable  of  modern  mechanical  artd  scientific  achievements. 
And  yet,  this  pride  of  achievement  was  humbled  by  the  sad  confession 
that,  after  all,  only  about  ten  per  cent,  of  the  whole  quantity  of  coal  con¬ 
sumed  in  the  grates  dtf  the  best  of  modern  steam  generators  became 
available  in  the  form  of  steam. 

Both  the  French  and  foreign  departments  did  their  best  to  exhibit 
their  triumphs  in  boilers  and  engines,  and  it  was  a  proud  fact  for  an 
American  to  realize  that  the  products  of  his  country' s  genius  in  this  line 
compared  favorably  with,  if  they  did  not  excel,  those  of  any  other  nation. 
When  it  came  to  those  exhibits  of  the  class  which  might  have  been  em¬ 
braced  under  the  head  of  novelties,  or  which,  from  their  peculiar  con¬ 
struction,  were  better  calculated  to  excite  curiosity  than  to  invite  respect 
for  their  utility,  the  French,  of  course,  had  no  rivals.  An  instance  of 
this  was  the  steam  driving  wheel  of  300  horse-power,  constructed  on  the 
Laval  system,  and  the  largest  ever  made. 

The  accessories  belonging  to  steam  engines  were  simply  bewilder¬ 
ing  in  their  profusion,  except,  of  course,  to  those  whose  genius  felt  the 
inspiration  of  such  an  environment.  There  were  the  fire-boxes,  fur¬ 
naces,  boiler  chimneys,  stationary,  portable  or  semi-portable  boilers, 
packing  and  boiler-fittings,  feed  apparatus,  steam  jacketings,  anti-foul¬ 
ing  compounds,  water  softenings,  feed  water  heaters,  cocks,  stationary, 
portable  and  semi-portable  engines,  valve  gearings,  condensers,  regula- 


MACHINERY. 


229 


tors,  governors,  lubricators,  fittings,  methods  of  examining  and  testing 
steam  apparatus,  ingenious  engines  set  in  motion  by  the  evaporation  of 
other  liquids  than  water,  in  short  any  and  every  appliance  to  facilitate  the 
development  and  control  of  machine  energy. 

Class  19  had  many  annexes,  each  one  specializing  features  con¬ 
nected  with  the  class,  or  exemplifying  some  feature,  either  as  savoring 
of  private  enterprise  or  as  too  monumental  to  admit  of  the  limitations  of 
covered  structures.  Such,  for  instance,  were  towering  chimneys 
(smoke-stacks),  the  two  most  notable  of  which  were  those  of  porcelain, 
rising  above  the  workshop  of  Suffren  and  La  Bourdonnais — the  latter 
being  fifty  feet  in  diameter  at  the  base,  fifteen  at  the  top,  and  costing 
over  $40,000  to  erect. 

In  connection  with  Class  19,  as  with  nearly  all  Classes  of  the  Ex¬ 
position,  was  that  comparative,  curious  and  very  informing  feature, 
known  as  the  retrospective  exhibition.  Therein  was  found  an  objec¬ 
tive  history  of  the  growth  of  the  steam  engine  and  condenser,  in  the 
form  of  models,  engravings,  drawings  and  documents,  from  the  very 
first  attempts  to  use  steam  as  a  motor  down  to  the  perfected  results  of 
modern  skill.  Here  too  was  found  an  interesting  history  of  the  associ¬ 
ation  of  owners  of  steam  engines,  compiled  by  the  secretary  of  the 
section. 

>  With  the  wish  for  more  time  to  dwell  upon  exhibits  of  this  inter¬ 
esting  Class,  and  with  the  promise  to  refer  to  it  again  should  opportunity 
occur,  one  passed  to  the  next  and  contiguous  Class  (Class  20),  embrac¬ 
ing  the  various  kinds  of  engines  and  motor  machines.  The  French 
word  which  we  best  understand  by  our  word  Locomotives,  is  the  one 
which  covered  this  Class  as  a  general  heading.  When  in  the  previous 
Class,  where  steam  was  the  familiar  power,  one  stood  amazed  at  its  en- 
ergy,  and  at  the  awfulness  of  the  motion  it  imparted  to  giants  of  steel 
and  iron.  But  in  Class  20,  the  sense  was  rather  piqued  with  the  curios- 


23° 


THE  PARIS  EXPOSITION. 


ity  and  wonder  than  awe-inspired.  Perhaps  one  had  gotten  somewhat 
used  to  the  wide  swing  of  gigantic  arms  and  the  rapid  rotation  of  mon¬ 
strous  wheels.  At  any  rate,  here  the  results  of  energy  were  not  so  much 
a  contemplation  as  were  the  sources  of  energy.  Hardly  anything  in 
nature,  compound  or  simple,  but  here  seemed  to  yield  its  secret  power 
at  the  bidding  of  genius,  and  to  kindly  loan  that  power  to  machines 
of  motion.  There  were  engines  whose  power  was  water,  hot  air,  gas, 
petroleum,  compressed  air,  sal-ammoniac,  carbonic  acid,  solidified 
gasses,  wind,  and  countless  other  natural  energies.  Then  there  were 
the  various  exemplifications  of  the  practical  uses  to  which  all  could  be 
turned.  Their  parts  and  appliances  were  shown,  together  with  a  series 
of  motors  whose  power  was  derived  from  springs,  weights,  counter¬ 
weights,  pedals,  etc. — an  ingenious  and  marvellous  entirety,  suggestive 
of  the  possibilities  of  energy  and  motion  after  coal  has  done  its  whole 
duty  and  ceased  to  be  a  commercial  source  of  power.  Then  here  again 
was  the  retrospective  section  with  its  documents  and  models  tracing  the 
history  of  elementary  machines  from  the  beginning. 

One  has  thus  grown  familiar  with  the  machinery  for  the  genera¬ 
tion  of  power  and  with  its  direct  application,  and  is  ready  for  the  next 
Class  of  Group  IV,  Class  21.  This  embraced  the  various  kinds  of  gen¬ 
eral  mechanism,  or  General  Mechanics.  It  might  have  been  compre¬ 
hended,  at  least  in  part,  under  means  for  the  transmission  of  power,  for 
it  began  with  exhibits  of  apparatus  showing  the  passage  of  power  from 
object  to  object  or  place  to  place,  such  as  shafting,  plumbers’  blocks, 
guides  and  slides,  joining  systems,  gearing  clutches,  pawls,  pulleys,  belt¬ 
ings,  cables  or  power  transmission,  governors  and  speed  regulators,  lu¬ 
bricators,  engine  counters,  recorders,  speed  indicators,  pressure  gauges, 
machines  for  testing  materials,  apparatus  for  measuring  fluids  and 
gasses,  cranes  and  lifts  for  moving  loads,  hand  or  steam  pumps,  hy¬ 
draulic  rams,  and  every  similar  pharaphernalia.  Fire  engines  fell  into 


MACHINERY. 


231 


this  interesting  category,  hydraulic  presses  and  accumulators,  modern 
methods  of  making  use  of  inferior  gasses  by  passing  steam  over  red- 
hot  coals,  water  pipes  and  accessories,  air  compressors,  ventilators,  power 
transmission  and  distribution  at  a  distance  by  means  of  water,  steam, 
air  or  vacuum,  and  apparatus  for  preventing  accidents  by  machinery. 
Two  salient  points  observed  were  the  moving  road  and  the  continuous 
lifts  (elevators)  by  which  it  was  reached.  The  irrigating  machines 
were  particularly  noticeable,  especially  by  farmers,  for  whose  use  they 
were  especially  designed,  and  to  whom  they  were  to  become  a  source  of 
profit.  There  was  shown  a  new  and  interesting  development  in  canal 
construction  by  the  use  of  cement,  strengthened  by  rivited  steel  plates. 
Great  progress  in  weighing  machines  was  shown,  particularly  those  of 
the  automatic  balance.  Radical  improvements  in  lifts  (elevators)  were 
shown,  as  regards  increase  of  weight  and  adaptation  of  electricity  as  a 
motive  power.  Instruments  for  condensing  air  had  made  great  progress, 
and  those  were  shown  capable  of  obtaining  gas  under  a  pressure  of  200 
atmospheres. 

The  Retrospective  Exhibition  connected  with  Class  21,  while  fail¬ 
ing  to  offer  the  great  attraction  of  those  connected  with  Class  19  and 
20,  was  by  no  means  devoid  of  real  interest.  It  served  to  make  appar¬ 
ent  by  the  contrasts  it  furnished  the  improvements  in  hydraulic  appa¬ 
ratus  and  receivers,  and  the  many  changes  that  have  taken  place  in  the 
tools  and  appliances  of  handicraft. 

Class  22  of  this  Group  was  devoted  entirely  to  tools.  The  exhibits 
of  this  Class,  both  French  and  foreign,  consisted  of  very  many  fine  col¬ 
lections  of  highly  perfected  mechanical  tools.  In  the  metal  working 
section  were  shown  machines  worked  by  blow  compression  or  tension, 
steam  hammers,  forging  presses  and  machines,  cutting,  shearing,  punch¬ 
ing  and  stamping  machines,  rollers,  draw  benches,  wire  drawing  ma- 


THE  PARIS  EXPOSITION. 


232 

chines  and  presses,  and  machines  for  stretching  and  flanging,  bending, 
welding,  rivetting,  cutting,  folding,  rolling,  moulding,  etc. 

Here,  too,  were  shown  the  methods  of  heating,  annealing,  temper¬ 
ing,  cementing,  welding,  and  brazing,  that  are  in  ordinary  use.  There 
were  also  handles,  vices,  hammers,  shears,  punches,  dies,  etc.  Next  were 
machines  with  cutting  tools,  lathes,  drilling,  rimming,  screw  cutting,  and 
milling  machines,  saws  for  cutting  metal,  planing,  slotting,  grooving, 
and  special  tools  for  the  above  machines.  There  were  grinding,  polish¬ 
ing,  and  sharpening  machines,  also  machine  and  grindstone  accessories. 
The  vices,  files,  taps,  and  dies,  and  screw  plates  of  tools  for  hand-work 
were  exhibited,  and  the  methods  and  tools  used  in  setting  out  work, 
adjusting,  checking,  and  testing.  There  were  surface  plates,  marking 
gauges,  straight-edges,  squares  and  compasses,  scribbling  blocks,  stand¬ 
ard  measuring  gauges,  and  instruments  for  testing  shape  and  dimen¬ 
sions. 

Another  section  of  this  class  was  devoted  to  wood-working  plant 
Saws  for  cutting  trees,  cutting  up  timber  with  the  bark  on,  and  for 
shaping.  Machines  for  squaring  timber,  planing  machines,  lathes,  drill¬ 
ing  and  slotting  machines.  Machines  for  making  tongues  and  grooves, 
tenons  and  mortices,  shaping  and  cutting  machines,  and  all  sorts  of  ma¬ 
chines  and  hand-tools  specially  used  in  wood-work.  To  finish  up,  there 
were  the  machine  tools  which  do  not  come  under  any  special  classifica¬ 
tion. 

The  Retrospective  Exhibition  of  Class  22  was  of  great  historical 
interest,  for  it  enabled  us  to  follow,  step  by  step,  the  different  transform¬ 
ations  of  mechanical  tools,  and  to  grasp  that  characteristic  result  of  mod¬ 
ern  industry,  which  tends  more  and  more  to  lessen  manual  labor. 


Electricity. 


HETHER  manufactured  in  the  heavens,  in  the  simple 
hand-machine,  or  in  the  energetic  dynamo,  electricity  is 
the  subtlest  of  elements  and  the  greatest  of  natural  won¬ 
ders.  We  use  the  word  “manufacture”  in  connection 
with  its  production.  It  is  a  misnomer,  for  electricity  is 
already  made.  It  is  all-pervasive  like  air,  but  so  refined 
as  to  escape  harness,  until  the  machinery  of  generation, 
natural  or  artificial,  is  brought  to  bear  upon  it.  That  it  should  play  a 
conspicuous  part  in  the  last  Exposition  of  the  century  which  witnessed 
its  wonderful  commercial  development  was  to  be  expected.  Never  be¬ 
fore  was  it  put  to  such  numerous  magic  uses.  Its  subtlety  and  bril¬ 
liancy  seemed  to  comport  with  the  mercurial  French  spirit.  It  rendered 
gaity  gayer,  motion  swifter,  power  stronger,  variety  more  variegated, 
scenic  splendor  more  vivid.  If  one  were  going  to  deny  that  it  was  uni¬ 
versal  in  nature,  yet  insist  upon  a  cognomen  representative  of  national 
traits,  he  would  say  that  electricity  was  French. 

Not  only  was  it  pervasive  in  presence  and  effect  of  the  entire  Ex¬ 
position,  but  of  all  Paris.  Its  glow  was  everywhere,  its  pulse  vibrant  in 
plaza,  boulevard,  pavilion  and  palace.  Day  and  night  it  silently  dis¬ 
pensed  5,000  horse-power  to  every  nook  and  corner,  and  to  the  myriads 
of  trembling  machines  of  the  Exposition  grounds.  It  made  night  more 
than  day,  for  illuminated  Parisian  night  is  the  time  of  French  vivacity 
and  ecstacy.  The  grand  centre  of  electrical  effects,  so  far  as  the  Ex¬ 
position  was  concerned,  was  the  Palace  of  Electricity.  This  reared  its 
monumental  front  directly  across  the  Champ  de  Mars,  furnishing  a  gor- 

2 33 


2J4 


THE  PA'RIS  EXPOSITION. 


geous  background  to  the  charming  vista  as  seen  from  the  arches  of  the 
Eiffel  Tower,  from  even  a  closer  standpoint,  or  from  the  farther  terraces 
of  the  Trocadero  park  beyond  the  river  Seine 

Immediately  in  front  of  the  Electrical  Palace  stood  the  grand  and 
indescribable  erection  of  the  Chateau  d’Eau — Liquid  Castle,  or  show 
of  castellated  waters — in  the  form  of  a  gigantic  grotto,  in  which  a  foun¬ 
tain  of  rainbow-colored  waters  played  incessantly.  In  the  centre  of  the 
immense  basin  stood  a  symbolical  group  representing  Humanity  and 
Progress  conquering  Spite  and  Retrogression.  Nothing  could  have 
been  more  apropos  to  the  Exposition  than  these  symbols,  and  especially 
as  they  stood  at  the  very  entrance  of  the  halls  in  which  was  exemplified 
the  subtle  power  which  has  done  more  to  mark  the  century’s  humanitar- 
ianism  and  grand  civilizing  march  than  any  other.  The  effects  of  the 
Chateau  of  Water  were  charmingly  exhilarating  at  any  hour,  but  at 
night,  and  when  it  shimmered  under  the  glow  of  1000  colored  lamps,  the 
appearance  was  that  of  fairyland.  It  was  a  fitting  introduction  to  the 
gorgeous  Palace  which  arose  behind  it,  and  whose  marvellous  frontage 
was  approached  by  two  gently  rising  staircases,  one  on  either  side  of 
Castle  of  Waters.  In  making  the  approach  by  either  staircase,  one 
seemed  to  be  simply  transported  from  one  fairyland  to  another,  so  effec¬ 
tive  were  the  night  decorations  of  the  Palace,  when  thousands  of  electric 
lights  formed  illuminated  friezes  around  it,  and  myriads  of  crystal  points 
brought  the  whole  structure  into  glowing  outline. 

But  one  need  not  have  waited  tiff  night  to  be  lost  in  admiration,  for 
daylight,  too,  was  full  of  exquisite  revelations,  and  the  Palace  of  Elec¬ 
tricity  was  in  a  sense  the  controlling  spirit  of  the  entire  Exposition.  Out 
of  its  recesses  went  the  silent,  secret  force  that  moved  and  lighted  the 
whole  colossal  organization.  Should  it  have  stopped  its  generative 
work  the  tens  of  thousands  of  machines  that  hummed  the  tunes  of  Ex¬ 
position  industries  would  have  ceased  their  music,  and  the  myriads  of 


FRENCH  DYNAMO  AND  MOTAR  SECTION  OF  PAEACE  OF  EEECTRXCITY. 


ELECTRICITY. 


237 


lamps  distributed  throughout  the  buildings  and  gardens  would  have  sud¬ 
denly  ceased  to  impart  their  welcome  light. 

According  to  the  M.  Picard  plan  and  arrangement,  the  subject  of 
Electricity  was  worthy  of  its  separate  Palace,  and  sufficient  for  a  single 
group.  It  therefore  became  Group  V  of  the  Exposition,  and  as  with 
other  groups,  the  numbers  of  its  classes  began  where  those  of  the  prior 
group  left  off.  The  Classes  of  Group  V  ran  as  follows : 

Class  23.  Production  and  Utilization  of  Electricity. 

Class  24.  Electro-Chemistry,  Electro-plating. 

Class  25.  Electric  Lighting. 

Class  26.  Telegraphy  and  Telephony. 

Class  27.  Electrical  Machinery,  Various  Applications  of  Electricity. 

As  already  intimated,  the  power  for  lighting  the  entire  Exposition 
and  running  its  machinery  was  manufactured  in  the  Palace  of  Electricity. 
From  its  basement,  hundreds  of  miles  of  wire  extended  in  all  directions, 
passing  along  walls,  running  through  underground  conduits,  or  diving 
beneath  the  waters  of  the  Seine.  One  gentle  touch  of  an  electrical  but¬ 
ton  with  the  finger  unbridled  the  magic  fluid  and  sent  it  on  its  instanta¬ 
neous  career  to  emblazon  palace,  hall,  tower,  museum,  shop  and  garden, 
and  impart  its  energy  to  myriads  of  mechanical  devices.  How  glor¬ 
ious  the  transition  when  with  a  flash  the  1600  incandescent  lamps  of  the 
Palace  and  its  300  archway  lights  burst  into  radiance !  In  the  same  in¬ 
stant  the  Monumental  Gateway  became  aglow,  the  Bridge  of  Alexan¬ 
der  III,  the  gardens  of  the  Champs  Elysees,  the  esplanade  and  palaces 
of  the  Invalides,  the  Champ  de  Mars,  the  Trocadero,  the  quays  of  the 
Seine  with  their  pavilions  of  the  nations,  while  the  inimitable  Castle  of 
Waters  poured  forth  its  fiery  cascades. 

The  spaces  devoted  to  Class  23,  or  to  the  Production  and  Utiliza¬ 
tion  of  Electricity,  were  divided  between  the  ground  floor  and  first  floor 
(second  story)  of  the  Palace  of  Electricity;  and  the  ground  floor  spaces 


THE  PARIS  EXPOSITION. 


were  further  and  necessarily  associated  with  that  part  of  Group  IV 
(Class  19,  Steam  Engines)  which  supplied  steam  power.  In  general, 
the  ground  floor  space  was  devoted  to  the  heavier  electrical  machines, 
such  as  dynamos  and  motors,  while  the  first  floor  (second  story)  was 
devoted  to  the  several  sections  of  Electro-chemistry,  Electric  Lighting, 
Telegraphy  and  Telephony,  and  Electrical  Appliances. 

Owing  to  the  number,  power  and  weight  of  the  machines  which 
occupied  the  ground  floor  of  the  Palace,  they  were  distributed  over  sev¬ 
eral  places,  and  to  the  first  place  or  class,  called  electrogene — place 
where  electricity  was  produced — were  assigned  the  mammoth  machines 
which  supplied  the  Exposition  with  the  necessary  power  for  light  and 
motion.  These  machines  were,  of  course,  and  as  already  mentioned, 
in  close  relation  with  the  steam  engines  of  Class  19.  Every  generative 
unit  included  a  steam  engine,  with  a  minimum  of  1000  horse-power,  in 
connection  with  a  dynamo  without  bands.  As  a  gigantic  electrical  lab¬ 
oratory  nothing  could  have  been  more  complete  and  imposing.  Here 
all  the  prominent  electrical  engineers  of  France  were  in  active  competi¬ 
tion,  with  their  latest  types  of  electrical  generators. 

An  extension  of  this  Class  23  was  found  on  the  ground  floor  of  the 
Palace  of  Mechanism.  It  comprised  dynamos  of  every  description, 
worked  either  with  or  without  steam,  dynameters  with  continuous  and 
intermittent  currents,  models  of  electric  street  railways,  barges  and 
boats,  lighting  plants  for  light-houses,  search  lights  or  steamers  and 
naval  vessels,  etc.  And  here  was  gathered  every  description  of  motor 
from  the  100,000  pound  dynamo  to  the  tiniest  toy  motor.  Going  back 
to  the  ground  floor  of  the  Palace  of  Electricity,  and  taking  up  the  thread 
again,  one  saw  every  variety  of  cable  for  conducting  lighting  and  motive 
power,  all  kinds  of  insulators  and  appliances  for  aiding  the  passage  of 
electric  currents.  Owing  to  the  limited  space  at  command  in  the 
Champ  de  Mars,  the  exhibition  of  street  railways  and  their  methods  of 


ELECTRICITY. 


239 


propulsion  were  transferred  to  the  Bois  de  Vincennes  (Vincennes 
Woods)  where  they  became  an  attractive  feature  of  that  picturesque 
suburb. 

The  next  class  of  Group  V  (Class  24)  was  devoted  to  Electro-chem  ¬ 
istry.  This  proved  to  be  a  most  curious  and  attractive  class,  and  like 
the  former  was  divided  into  ground  floor  and  first  floor  (second  story) 
sections.  On  the  ground  floor  were  found  electric  stoves-  worked  by 
carboxite  of  calcium  and  aluminum,  and  baths  for  producing  chlorate 
of  potash.  This  last  process  attracted  great  attention,  as  it  had  never 
been  carried  on  in  public  before,  but  had  been  kept  as  a  secret  in  the 
workshops  of  Savoy,  whose  waterfalls  supplied  power  for  the  motors. 
Other  notable  attractions  of  the  floor  were  an  ozone  generator,  wrapped 
in  a  halo  of  brilliant  and  crackling  electric  sparks  in  its  efforts  to  pro¬ 
duce  ozone  for  sterilizing  drinking  water;  and,  most  wonderful  of  all. 
the  brilliant  experiments  made  daily  and  in  public  for  producing  crystals 
and  manufacturing  diamonds  and  other  precious  metals.  Aladdin 
might  have  envied  this  triumph  of  electro-chemistry. 

On  the  first  floor  (second  story)  was  carried  on  the  interesting  oper¬ 
ation,  through  all  its  successive  steps,  of  electro-plating.  The  num¬ 
erous  electrolytic  baths  held  solutions  of  gold,  silver,  copper,  or  what¬ 
ever  metal  was  to  constitute  the  plating.  The  object — knife,  spoon, 
fork,  or  whatever  else — to  be  plated  was  thrust  into  the  bath,  an  elec¬ 
tric  current  was  sent  through  it,  when,  behold,  the  metal  with  which  the 
bath  was  charged  was  precipitated  firm  and  fast  upon  the  object  inserted. 
It  was  not  a  new  or  occult  operation,  but  here  it  seemed  to  have  been 
lent  a  new  charm  by  modern  electro-chemistry  and  up-to-date  mechan¬ 
ism.  A  vast  array  of  voltaic  batteries  and  electric  accumulators,  illus¬ 
trating  the  latest  improvements  along  these  lines,  served  to  attract  the 
attention  of  those  electrically  inclined. 


240 


THE  PARIS  EXPOSITION. 


As  might  have  been  expected,  the  class  of  the  group  devoted  to 
Electric  Lighting  (Class  25)  was,  at  night,  particularly  brilliant  under  its 
blaze  of  light  reflected  in  a  series  of  crystal  chandeliers.  Along  the  halls 
of  the  electrogenic  section,  or  section  for  producing  electric  light  (Class 
23),  already  described,  appeared,  in  splendid  array,  all  the  models  for  in¬ 
candescent  lamps,  chandeliers,  brackets,  candelabra,  exhibits  of  manu¬ 
factures  of  bronze  artistic  works,  private  electrical  plants,  electric  reg¬ 
ulators,  and  the  larger  apparatus  required  at  central  lighting  establish¬ 
ments.  A  miniature  factory  for  the  manufacture  of  incandescent  lamps 
showed  the  wonderful  number  and  extreme  delicacy  of  the  operations 
required  in  the  production  of  these  familiar,  useful  and  ornamental 
objects. 

In  the  centre  of  the  Palace  of  Electricity  was  found  Class  26,  or 
the  class  embracing  Telegraphy  and  Telephony.  Here  the  variety  was 
infinite  and  displays  novel,  owing  to  the  fact  that  so  many  vast  strides 
had  been  made  of  very  recent  years  in  both  these  branches  of  electricity, 
Telephonic  appliances  of  every  kind  appeared,  transmitters,  receivers, 
batteries,  conduits,  and  those  marvels  of  ingenuity,  the  switchboards, 
burdened  with  their  new  devices  for  solving  the  complicated  problems 
arising  from  increasing  numbers  of  telephonic  subscribers.  Then  what 
a  variety  of  wires  and  cables  was  there,  showing  the  best  conductive  ma¬ 
terials,  and  their  complicated  forms,  for  overland  purposes  and  for  car¬ 
rying  messages  beneath  the  rivers  and  oceans. 

The  class  of  Electrical  Machinery  and  various  Applications  of 
Electricity  (Class  27)  was  also  an  interesting  one.  Here  were  shown 
courtless  sets  of  apparatus  designed  to  secure  the  precision  which  only 
minute  exactness  of  construction,  and  delicate  electric  adjustment,  could 
impart.  Countless  others  were  designed  to  show  the  application  of 
electricity  to  heating  and  cooking  purposes.  Among  these  were  stoves 
for  cooking  and  warming  purposes,  coffee  roasters,  chafing  dishes,  and 


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ELECTRICITY. 


*43 


others  illustrating  the  value  of  electricity  in  household  economy.  Had 
one  been  ill,  there  was  opportunity  to  test  the  efficacy  of  electricity  as  a 
therapeutic  agent,  in  the  form  of  batteries  and  other  ingenious  and  novel 
means  of  administration.  Or  if  it  had  become  necessary  for  a  physician 
to  look  within  one’s  body  to  see  the  condition  of  its  working  organs,  or 
to  locate  some  foreign  and  harmful  substance,  what  an  opportunity  was 
there  presented  in  the  profusion  of  those  appliances  which  go  to  make 
up  a  modern  X  Ray  outfit — radiographs,  radioscopes,  Crook’s  tubes, 
glass  plates  and  bulbs,  fluoroscopes,  etc.  This  Class  (27)  occupied  the 
centre  of  the  Palace,  opposite  the  Hall  of  Honor. 

The  Hall  of  Honor  stood  in  the  very  centre  of  the  Palace,  and 
faced  the  Hall  of  Fetes.  In  its  immense  areas,  surmounted  by  a  lofty 
and  imposing  dome,  were  collected  and  arranged  the  principal  gems  of 
the  French  and  foreign  electricians.  The  United  States  was  brilliantly 
represented  by  the  latest  discoveries  of  Edison,  Tesla,  and  other  distin¬ 
guished  electricians.  Germany  was  particularly  strong  in  her  many 
exhibits,  including  that  of  the  celebrated  Roentgen,  the  inventor  of 
radiography,  and  of  Professor  Wehnelt,  who  invented  an  electrical  in¬ 
terrupter  capable  of  producing  5,000  interruptions  of  the  current  in  a 
minute.  Italy  was  ably  represented  by  Marconi  with  his  instruments 
and  appliances  illustrative  of  his  new  system  of  wireless  telegraphy. 
In  a  central  pavilion  Switzerland  exhibited  the  various  interesting  and 
valuable  inventions  of  M.  Dussaud,  among  which  were  the  loud-speak¬ 
ing  and  automatically  inscribing  telephones.  A  practical  exhibition  of 
these  telephones  was  given  throughout  the  day,  and  by  means  of  them, 
visitors,  without  even  coming  close  to  the  machines,  could  carry  on  a 
conversation  with  their  friends,  to  as  remote  a  distance  as  the  Swiss 
village  in  the  Palace  of  Agriculture.  The  conversation  could  be  re¬ 
peated  at  either  end,  as  oft  as  desired,  by  the  registering  telephone. 

12 


*44 


THE  PARIS  EXPOSITION. 


As  showing  the  devotion  of  the  respective  nations  to  electrical 
science,  they  were  present  at  the  Exposition  of  1900  in  force  and  in 
keen  competition.  It  was  a  noble  sight  to  witness  this  amiable  rivalry 
in  a  science  that  had  in  so  short  a  time  harnessed  such  a  mighty  natural 
force  and  turned  it  to  man’s  every-day  account.  The  powerful  and  very 
practical  instruments  of  the  United  States  were  the  centre  of  special 
attraction  and  study.  The  Swedish  exhibit  of  telephones  showed  that 
her  scientists  had  made  great  headway  in  the  invention  of  practical 
instruments  for  sending  and  receiving  speech,  and  not  only  this,  but 
had  succeeded  in  manufacturing  them  at  such  a  cheap  rate  as  to  enable 
her  citizens  to  instal  them  in  their  private  houses  at  little  cost.  Russia 
set  forth  a  grand  display  of  instruments  opposite  the  Hall  of  Honor. 
On  the  right,  Great  Britain  was  strongly  represented  by  her  principal 
electricians.  Germany  certainly  entered  as  a  strong  rival  of  the  other 
powers.  She  had  ample  space  at  her  command,  and  she  utilized  it  in 
an  excellent  manner.  Her  exhibits  were  placed  in  a  long  hall  to  the 
right.  At  the  end  of  the  hall,  and  occupying  its  entire  breadth,  was 
seen  the  colossal  crane,  made  by  Karl  Flohr,  of  Berlin.  It  lifted  weights 
of  55,000  pounds  with  ease,  and  was  used  for  conveying  and  placing  in 
position  most  of  the  other  machines  in  the  Palace  of  Electricity.  Swit¬ 
zerland’s  creditable  exhibit  was  distinguished  by  the  introduction  of 
several  powerful  dynamos.  Austria,  England,  Belgium,  the  United 
States  and  Italy,  cooperated  with  France  in  producing  the  necessary 
lighting  and  moving  power  for  the  whole  Exposition.  In  the  English 
exhibit  were  three  machines  of  3,500  horse-power;  Austria  showed  four 
of  4,700  horse-power;  Belgium,  two  of  2,200  horse-power;  Switzer¬ 
land,  three  of  1,700  horse-power;  Italy,  two  of  1,800  horse-power;  Ger¬ 
many,  four  of  7,500  horse-power.  The  French  exhibit  showed  seven¬ 
teen  machines,  supplying  14,500  horse-power.  In  addition  to  their 


ELECTRICITY. 


MS 


principal  installations,  the  foreign  sections  exhibited  side  by  side  with 
those  of  France,  all  the  latest  electrical  discoveries  and  inventions. 

What  a  vivid,  magical  world  the  whole  Palace  of  Electricity  was! 
How  eloquently  its  treasures  spoke  of  the  genius  and  enterprise  that 
had  subjugated  the  subtlest  of  all  forces  and  converted  it  to  commer¬ 
cial  use!  Aladdin  owned  a  magic  lamp,  by  means  of  which  he  could 
bring  to  his  instant  aid  the  services  of  an  all-helpful  genie.  When  he 
wished  for  aid,  he  had  but  to  rub  his  lamp.  At  once  the  genie  ap¬ 
peared  to  gratify  his  desires.  By  means  of  the  lamp  Aladdin  could  hear 
the  faintest  whisper  thousands  of  miles  away.  He  could  annihilate 
both  time  and  space,  and  in  a  twinkling  could  transfer  himself  to  the 
tops  of  the  highest  mountains.  How  the  charm  of  this  ancient  story 
is  lost  in  the  presence  of  that  marvellous  realism  which  marks  the 
achievements  of  modern  electrical  science! 

No  gathering  of  electrical  appliances,  no  display  of  the  results  of 
genius  and  skill  as  applied  to  electricity,  ever  approached  those  of  the 
Exposition  of  1900,  either  in  number  or  importance.  It  was  the  grand 
climax  of  the  century  in  electrical  knowledge  and  mechanism.  And 
then  the  arrangement  was  so  perfect,  so  suggestive.  It  made  avail¬ 
able  both  for  view  and  study,  as  well  as  for  present  practical  adaptation, 
all  the  achievements  of  electrical  science.  It  was  a  chapter  of  history, 
or  rather  a  great  book,  in  which  one  could  read  from  the  dim  morning 
to  the  brilliant  noonday  of  a  science  before  which  all  others  pale.  It 
recalled  Thales,  invoking  the  silent  energy  whose  phenomena  and  pos¬ 
sibilities  are  so  infinite,  by  rubbing  a  piece  of  amber  with  his  clothing, 
600  years  before  Christ. 

One  read  afresh  in  those  electrical  wonders  of  the  Exposition  the 
story  of  Dr.  Gilbert's  struggle  with  the  subtle  agent,  which  he  wrote 
in  his  “Magnet,”  in  the  year  1600  A.  D.,  and  which  was  the  first  book 


246 


THE  PARIS  EXPOSITION. 


on  electricity  ever  written.  Also  of  the  subsequent  struggles  of  Boyle, 
Newton,  von  Guericke  and  Hawksbee,  with  their  electrics,  and  their 
glass  cylinders  and  sulphur  rolls.  And  again,  how  Gray,  in  1729,  found 
that  he  could  conduct  the  electricity,  excited  on  his  glass  cylinder,  to 
a  distance  by  means  of  a  packthread.  These  were  all  simple,  childish, 
toy-like  things  in  the  presence  of  those  mighty  monsters  of  the  Expo¬ 
sition;  nevertheless,  those  investigators  and  experimenters  were,  in 
their  time  and  way,  as  much  giants  of  genius  as  these  of  later  date  who 
have  girdled  the  earth  with  electric  wires. 

And  there  in  the  midst  of  the  great  electrical  accumulators,  one 
recalled  the  importance  of  the  discovery  of  the  Leyden  Jar,  in  which 
electricity  could  be  bottled  up  and  preserved  for  future  experiment, 
and  how  Benjamin  Franklin  electrified  the  world,  so  to  speak,  by  ignit¬ 
ing  a  glass  of  brandy  in  the  house  of  a  friend  beyond  the  Schuylkill 
river,  by  means  of  a  wire  attached  to  a  Leyden  Jar  in  his  own  house, 
some  miles  distant;  or  how  he  turned  electricity  to  first  practical  ac¬ 
count  by  attracting  it  from  the  clouds  by  means  of  his  kite-string,  thus 
leading  to  the  use  of  the  lightning  rod  as  a  means  of  safety  against  the 
electric  bolt. 

But  if  the  simple  frictional  electricity  of  the  time  was  thus  capable 
of  producing  wonders,  what  a  grand  step  toward  the  practical  results 
made  visible  at  the  Exposition  of  1900,  that  was  which  Galvani  took  in 
1790,  when  he  generated  an  electric  fluid  by  means  of  an  acid  and  dis¬ 
similar  metals;  a  step  enlarged  and  completed  by  Volta,  in  1800,  who, 
in  the  construction  of  the  Voltaic  pile,  showed  to  the  scientific  world 
that  a  new  kind  of  electricity,  one  not  frictional,  had  been  discovered. 

Then  the  displays  in  the  Palace  of  Electricity  suggested  the  suc¬ 
ceeding  rapid  strides  in  the  history  of  electrical  science,  for  science  it 
could  now  be  called  with  some  degree  of  plausibility: — how  Sir  Hum- 


THE  PALACE  OF  LIGHT. 


ELECTRICITY. 


H9 

phrey  Davy  blended  chemistry  with  electricity,  and  how  he  foreshad¬ 
owed  the  arc  light  of  the  future  by  his  discovery  that  if  a  piece  of  char¬ 
coal  were  inserted  between  the  two  ends  of  a  charged  wire  a  brilliant 
electric  spark  would  be  emitted;  how  Oersted,  of  Denmark,  found  that 
he  could  measure  the  strength  and  direction  of  an  electric  current;  how 
Ampere,  of  France,  discovered  the  identity  of  electricity  and  galvanism; 
how  Ritchie,  of  England,  invented  the  first  suggestion  of  the  dynamo 
and  motor,  in  a  crude  machine  which  was  capable  of  producing  a  con¬ 
tinuous  motion  by  means  of  the  attraction  and  repulsion  between  fixed 
magnets  and  electro-magnets. 

And  again,  as  one  stood  in  the  presence  of  those  monumental 
machines  of  the  Exposition,  how  eloquent  the  chapter  contributed  to 
-electrical  history  by  Faraday  became.  In  1831,  he  made  known  his 
revolutionizing  discovery  that  by  means  of  a  coil  of  wire  he  could  in¬ 
duce  electricity  from  magnetism.  With  this  coil,  which  he  called  an 
induction  coil,  he  actually  constructed  a  dynamo,  which  failed  of  com¬ 
mercial  success,  because  the  only  source  of  energy  he  could,  in  his  day, 
draw  upon  was  that  supplied  by  the  rather  costly  Voltaic  cells. 

And  as  the  electrical  science  of  the  century,  in  so  far  as  it  was 
represented  by  the  Class  (26)  of  Telegraphy,  bowed  to  the  past,  how 
vividly  became  the  chapters  which  told  the  story  of  the  evolution  of 
electric  transmission  of  speech: — How  Ronalds,  of  England,  in  1816, 
operated  a  telegraph  by  means  of  pith-ball  signals;  how  Ampere,  in 
1820,  suggested  the  deflection  of  the  magnetic  needle  as  a  reading 
agent;  how  Dyar,  of  New  York,  in  1828,  was  able  to  write  electric  im¬ 
pressions  on  litmus  paper;  how  Morse  finally  struck  the  key  of  success 
in  his  telegraphic  apparatus  and  ingenious  alphabet;  how  the  world 
stood  in  amazement  when,  on  May  27,  1844,  Washington  spoke  with 
Baltimore,  a  distance  of  forty  miles,  by  means  of  the  electric  telegraph. 


*5° 


THE  PARIS  EXPOSITION. 


All  this  was  overland.  In  1842,  Morse  showed  that  submarine  teleg¬ 
raphy  was  feasible.  In  1848,  an  insulated  cable  was  laid  and  operated 
under  the  Hudson  between  New  York  and  New  Jersey.  In  1851  a 
submarine  cable  was  operated  in  the  English  Channel.  In  1857,  Cyrus 
W.  Field  laid  a  cable  under  the  Atlantic  Ocean,  but  it  broke.  He  laid 
another,  in  1858,  but  the  insulation  proved  faulty.  In  1865,  a  third 
attempt  was  made,  but  the  cable  broke.  In  1866,  a  fourth  and  succes- 
ful  attempt  was  made.  This  signal  triumph  was  the  forerunner  of  all 
those  immense  systems  which  traverse  the  beds  of  oceans,  and  which 
have  proved  so  invaluable  to  international  commerce  and  the  world’s 
diplomacy.  What  the  overland  telegraph  has  done  toward  bringing 
local  states  and  communities  together  the  submarine  cable  has  done 
for  the  remote  nations.  One  of  the  attractive  features  of  the  section 
of  the  Exposition  devoted  to  Telegraphy  was  the  variety  of  forms 
shown  for  the  manufacture  of  submarine  cables. 

And  the  same  Class  (Class  26)  was  devoted  to  Telephony.  Here 
a  briefer,  but  no  less  interesting  history  was  written.  How  Wheaton’s 
string  telephone  of  1819  could  transmit  musical  sounds  to  a  distance, 
if  the  ends  of  the  string  were  armed  with  delicate  diaphrams.  How,  in 
1854,  Boursel  showed  that  if  a  man  spoke  near  a  moveable  disk,  suffi¬ 
ciently  flexible  to  lose  none  of  the  vibrations  of  the  voice,  and  so  that 
this  disk  alternately  made  and  broke  a  current  from  a  battery,  then  a 
similar  disk  at  the  further  end  of  a  charged  wire  would  execute  the 
same  vibrations.  This  was  the  telephone;  but  it  transmitted  only  the 
sound  of  the  voice  at  the  pitch  of  the  speaker,  and  not  the  intonations 
and  variations  of  syllabeled  speech. 

Drawbaugh,  of  Cumberland  County,  Pa.,  struck  the  key  of  speech 
transmission  as  early  as  1859-60,  by  introducing  into  the  electric  circuit 
a  small  quantity  of  powdered  charcoal  confined  in  a  tumbler,  through 


ELECTRICITY. 


*5* 


which  the  current  passed.  The  charcoal  offered  just  the  kind  of  varia¬ 
ble  resistance  to  the  current  necessary  to  reproduce  the  tones  and  syl¬ 
lables  of  speech.  He  was  robbed  of  his  invention  by  subsequent  scien¬ 
tists  of  mercenary  turn.  In  1861,  Reis  of  Germany,  Gray  of  Chicago 
and  Bell  of  Boston  came  into  the  field  as  rival  discoverers  of  the  speech- 
transmitting  telephone.  Their  success  turned  entirely  on  the  introduc¬ 
tion  of  a  variable  medium,  like  charcoal,  into  the  electric  circuit.  Ber¬ 
liner's  microphone  of  1877,  further  improved  the  telephone,  and  so  did 
Edison’s  discoveries.  The  principles  they  introduced  were  those  which 
entered  into  the  telephones  of  the  Exposition  of  1900,  but  there  were 
many  new  appliances  of  a  mechanical  character. 

The  monster  dynamos  and  motors  of  the  Exposition  suggested 
Faraday’s  simple  beginning,  in  1831,  with  his  induction  coil  and  “New 
Electrical  Machine.”  The  electro-magnet  became  the  spirit  of  the 
dynamo.  In  1848,  Brett  found  that  the  induced  currents  of  the  dyna¬ 
mo,  even  as  it  then  existed,  could  be  turned  to  account  for  increasing 
the  strength  of  the  electro-magnets  used  in  inducing  them.  Then  the 
dynamo  ran  rapidly  to  perfection,  by  new  discoveries,  and  by  increasing 
the  size  and  power  of  the  electro-magnets,  and  with  this  perfection 
came  its  multiplied  uses.  It  became  the  prime  factor  in  electric  light¬ 
ing.  Trolley  systems  sprang  up  in  cities,  towns  and  villages.  The 
dynamo  succeeded  the  steam  engine  in  hauling  cars  through  tunnels. 
Dynamo  plants  sent  electricity  from  such  sources  of  water-power  as 
Niagara  to  distant  cities  to  be  applied  to  lighting  and  every  kind  of 
machinery. 

The  most  brilliant  of  all  the  historic  chapters  of  electricity,  written 
at  the  Exposition,  was  that  of  Class  25 — Electric  Lighting.  In  the 
midst  of  splendor  and  effects  never  before  equalled,  one  could  not 
suppress  the  reminiscence  that  Sir  Humphrey  Davy  had,  as  long  ago 


THE  PARIS  EXPOSITION. 


as  1809,  lit  upon  the  phenomenon,  that  if  he  brought  the  two  ends  of 
an  electrically  charged  wire  mounted  with  charcoal  tips  into  proximity, 
the  current  would  leap  from  one  tip  to  the  other  in  the  shape  of  a  bril¬ 
liant  arc.  This  was  the  beginning  of  the  arc  light.  It  needed  two  essen¬ 
tials  to  fit  it  for  commercial  use.  One  was  a  substance,  for  use  in  place 
of  the  charcoal  tips,  that  would  stand  the  heat.  This  came  about  in 
due  time  in  the  form  of  specially  prepared  and  hard  graphite  carbon 
tips,  shaped  like  cand'es,  and  so  adjusted  by  clock-work,  or  by  gravity, 
as  to  be  kept  at  the  requisite  distance  apart  during  the  period  of  burn¬ 
ing.  The  second  essential  was  a  generator  of  electricity  cheaper  and 
more  powerful  than  the  Voltaic  cell,  or  pile.  This  was  met  in  the  per¬ 
fected  dynamo.  By  1 879,  arc  lighting  was  sufficiently  complete  to  war¬ 
rant  its  introduction  in  cities  for  street  purposes.  Incandescent  light¬ 
ing  had  a  longer  struggle,  but  under  the  genius  of  Edison  it  became 
the  light  for  houses  and  halls,  as  soon  as  he  discovered  the  proper  ma¬ 
terial  out  of  which  to  manufacture  the  coiled  carbon  filaments  inside  of 
the  vacuum  globes. 

Electric  locomotion,  as  typified  at  the  Exposition,  opened  the  vista 
of  history  back  to  Davenport’s  attempt,  in  1835,  to  run  a  small  car  by 
means  of  the  electricity  furnished  by  Voltaic  cells.  Of  course,  this  was 
but  a  toy.  In  1851,  Professor  Page,  of  the  Smithsonian  Institute,  ran  a 
car  propelled  by  electricity  upon  the  steam  railway  between  Washing¬ 
ton  and  Baltimore.  He  got  speed,  but  the  cost  of  supplying  the  cur¬ 
rent  by  means  of  batteries,  the  only  means  then  known,  prohibited  the 
commercial  use  of  the  method.  With  the  invention  of  the  dynamo  as 
an  economic  and  powerful  generator  of  electricity,  and  also  the  inven¬ 
tion  of  the  motor  as  a  means  of  turning  electrical  energy  to  mechanical 
account,  the  way  was  open  all  over  the  world  for  more  active  investi¬ 
gation  of  the  question  of  electric-car  propulsion.  Different  inventors, 


ELECTRICITY. 


*S3 

both  in  Europe  and  the  United  States,  placed  in  operation  various 
systems  of  experimental  street  railways.  One  was  operated  in  Denver 
as  early  as  1885,  and  the  first  to  be  operated  on  the  trolley  plan  was 
in  Richmond,  in  1888.  In  five  years’  time  the  new  means  of  propul¬ 
sion  was  deemed  convenient,  safe  and  profitable. 

Enthusiasts  say  that  the  trolley  is  only  the  beginning  of  electric 
locomotion.  This  seemed  true  in  the  presence  of  the  numerous  devices 
shown  at  the  Exposition,  having  for  their  object  the  propulsion  of  cars, 
either  for  the  carriage  of  passengers  or  freight,  swiftly  or  slowly,  on 
levels  or  gradients,  short  lines  or  trunk  lines.  Most  of  these  devices  in¬ 
volved  a  third,  or  middle,  track  for  carrying  the  electric  current. 

In  viewing  the  wonders  of  Electricity  at  the  Exposition,  not  only 
in  the  Palace  of  Electricity,  but  in  the  many  places  of  manufacture  and 
industry  where  it  was  called  into  requisition,  one  could  not  fail  to  be 
impressed  with  its  adaptability,  power,  cleanliness  and  noiselessness. 
One  stood  in  awe  before  that  marvellous  electrical  revelation  which 
came  about  during  the  decade  through  the  discovery  of  the  X,  or  un¬ 
known,  or  Roentgen,  ray,  by  means  of  which  the  invisible  within  our 
bodies  becomes  visible,  and  susceptible  to  photographic  reproduction. 
And  so  of  that  newly  discovered  principle  by  means  of  which  Marconi, 
and  others,  seek  to  transmit  intelligence,  through  electrical  agency, 
with  no  conducting  medium  other  than  the  air.  Then  there  was  the 
impressive  wonder  of  the  electric  clock  not  only  for  keeping  time  but 
for  regulating  time  over  an  entire  country;  the  wonder  of  electricity 
as  used  in  the  elegant  arts  of  electrotyping  and  electroplating;  in  the 
various  modern  submarine  devices  for  the  destruction  of  ships,  known 
as  torpedoes,  submarine  mines,  etc.;  as  a  lighting  or  firing  agent  for 
guns  in  forts  or  torpedoes  in  harbors;  in  the  operation  of  railway  sigmal 
systems,  opening  and  closing  of  switches,  and  limitation  of  safety  sec- 


*54 


THE  PARIS  EXPOSITION. 


tions;  in  enabling  the  dentist  to  manipulate  his  most  delicate  tools;  in 
medicine  as  a  healing  agent;  in  plant  growth,  where  a  new  science  has 
sprung  known  as  Electro-horticulture;  in  heating  and  warming,  and 
welding  of  metals;  in  the  working  of  fans  and  bells;  in  fact,  in  innumer¬ 
able  forms  that  conduce  to  human  comfort  and  convenience. 

The  Palace  of  Electricity  was  popularly  known  as  “The  Fairy  of 
the  Exposition  of  1900.”  It  was  a  good  fairy;  one  of  those  beautiful 
and  powerful  fairies  who  bring  to  princely  cradles  their  generous  gifts. 
One  of  those  fairy  godmothers  who  lend  to  their  daughters  a  little  of 
their  own  charm  and  brilliance  of  their  traits  and  characteristics,  who 
leave  on  the  forehead  of  the  new-born  a  little  of  the  gleam  of  their 
genius. 

But  it  was  at  the  same  time  a  very  modern  fairy.  She  has  suddenly 
filled  the  closing  century,  running  over  and  changing  the  face  of  the 
earth.  For  the  past  ten  years  she  has  been  prodigal  with  the  blows  of 
her  magic  wand.  And  if  prophets  can  be  believed,  her  exploits  will 
more  than  ever  alter  the  life  of  men  in  the  twentieth  century. 

Her  name  calls  up  an  extremely  lively  person,  all  nerves,  not 
without  caprices,  clothed  in  brightness  and  enveloped  in  unknown 
mysteries:  Electricity.  The  grateful  Exposition  offered  her  a 
princely  hospitality  in  her  domain.  It  built  for  her  a  magnificent 
Palace,  a  Palace  of  the  “Thousand  and  One  Nights,”  as  one  says  when 
speaking  of  architecture  that  is  incomparable  for  richness  and  fantasy. 

Moreover  this  Palace  was  not  hard  to  find.  It  formed  the  end  of 
the  tableau  on  the  Champ-de-Mars.  Bordered  with  gardens,  the  lateral 
facades  seemed  to  form  a  hedge  to  lead  to  the  triumphant  centre.  With 
their  garments  of  clear  color  and  their  domes  shining  like  precious 
mitres,  they  recalled  religious  personages  ranged  and  robed  for  the  pas¬ 
sage  of  a  divinity. 


ELECTRICITY. 


255 

And  was  it  not  a  fantasy  without  equal,  this  Palace  which  had  no 
other  monumental  entrance  than  the  deep  porch  of  the  Chateau  d’Eau 
(Castle  of  Waters),  no  other  staircase  of  honor  than  the  giant-steps 
formed  by  the  cascade?  Had  it  not  a  richness  incomparable,  this  auda¬ 
cious  screen  which  shut  off  the  perspective  of  the  Champ-de-Mars,  out¬ 
lined  on  the  sky  like  an  immense  fan,  concealing  the  fairy  coquette? 

In  the  language  of  an  observant  descriptive  writer,  this  Palace 
possessed  one  capital  virtue;  its  distribution  was  eloquent.  It  spoke 
to  the  eyes,  and  recounted  the  genesis  of  energy  from  its  origin  to  its 
applications.  To  go  through  it  was  to  discover  at  the  same  time  the 
philosophy  of  this  marvelous  force.  First  the  useful  places,  which  gave 
better  than  the  gala  apartments  the  true  physiognomy  of  the  build¬ 
ing.  Two  colossal  brick  chimneys,  double  the  dimensions  of  the  Ven- 
dome  column,  marked  the  extremities  of  the  power  works.  Sheltered 
by  a  glass  partition,  between  these  two  monuments  the  boilers  extended 
in  a  double  row.  Some  of  them  were  spread  out  in  the  form  of  reser¬ 
voirs,  others  looked  like  organs  with  their  pipes,  other  still  modestly 
concealed  their  anatomy  under  brick  mantles.  These  white-hot  fires, 
which,  during  the  two  hundred  days,  devoured  tons  and  tons  of  coal  in 
order  to  boil  the  water,  were  the  source  of  the  energy  of  which  the  other 
parts  of  the  palace  showed  the  successive  transformations. 

The  court  of  boilers  was  behind  the  building,  properly  speaking. 
On  the  ground  floor  of  the  Palace  itself  was  another  colossal  row,  that 
of  machines,  called  the  electrogenic  groups.  Each  of  these  groups  was 
composed  of  a  motor  set  in  motion  by  the  steam  brought  from  the 
boilers,  and  of  a  dynamo.  Under  the  rapid  rotation  that  its  companion 
communicated,  it  produced  the  electricity.  In  short,  these  were  the 
couples  which  engendered  the  energy.  And  two  novel  transformations 


256  THE  PARIS  EXPOSITION. 

had  been  operated  before  the  eyes  of  the  visitor;  heat  had  become  mo¬ 
tion  in  the  motors,  and  motion  had  become  electricity  in  the  dynamos. 

Where  did  this  energy  go?  From  the  boilers  to  the  electrogenic 
group,  the  steampipes  were  its  vehicle.  From  this  point  wires,  metallic 
cables,  rather,  conducted  it.  All  these  wires  converged  toward  a  single 
point,  a  subterranean  gallery  in  the  Chateau  d’Eau.  There  a  double 
table,  over  one  hundred  and  seventy  feet  long — for  everything  was 
gigantic  in  this  establishment-reunited  all  these  wires,  all  the  appa¬ 
ratus  of  distribution,  safety,  starting,  and  control.  It  was  the  switch 
board  from  which  the  current  was  sent  forth  directly  over  the  whole 
surface  of  the  Exposition. 

On  the  first  floor  (second  story)  were  the  salons  of  Electricity. 
She  exhibited  here,  complaisantly,  all  her  little  show-case  miracles. 
She  appeared  as  a  carrier  of  speech  and  writing,  recalling  those  benefits 
of  telephone  and  telegraph,  so  recent,  but  become  so  necessary  ,to 
life  that  they  seem  to  have  existed  always.  Further  on,  the  mysterious 
wave  showed  that  she  had  no  more  use  for  the  help  of  a  wire.  She 
escaped  from  a  Crookes  tube  through  opaque  bodies  to  a  sensitive 
plate  which  she  impressed;  and  it  was  the  radiograph.  Or,  indeed,  she 
escaped  even  into  space;  and  it  was  telegraphy  without  wires.  Or 
again,  she  allowed  herself  to  be  bottled;  and  it  was  the  accumulator. 
Another  time  she  illuminated  with  an  intense  phosphorescence  the  tube 
of  Tesla  that  an  operator  placed  in  its  vibrant  zone;  and  it  was  the 
cold  light,  without  doubt  the  light  of  the  future. 

Moreover,  in  some  galleries,  which  were  all  porches,  that  could 
be  considered  as  part  of  her  domain,  Electricity  deigned  to  become  the 
collaborator  of  chemistry.  On  the  way  she  consented  to  age  wine,  to 
whiten  materials,  to  hasten  fermentations.  But,  especially,  sEe  had 
given  birth  to  that  new  science,  electro-chemistry,  that  may  be  called 


RUSSIAN  PAVILION,  MADE  OF  METAL  TUBES. 

(Palace  of  Mines  and  Metallurgy.) 


ELECTRICITY. 


"59 


the  modern  Alchemy.  Thanks  to  this  prodigious  force,  the  chemist 
returns,  in  effect,  to  the  transformations  of  simple  matter;  he  dares  to 
face  them  again,  as  his  ancestors  in  their  search  for  the  philosopher’s 
stone.  And  does  not  the  electric  furnace  make  better  than  gold,  giving 
us  rubies  and  diamonds? 

And  yet  all  these  miracles  were  only  the  secondary  employment 
of  electricity  at  the  Exposition,  and  did  not  give  it  that  original,  novel 
physiognomy  that  it  owed  to  the  modern  fairy.  In  the  daytime  the 
energy  was  sent  from  the  subterranean  gallery  of  the  Chateau  d’Eau 
all  over  the  Exposition,  and  put  all  the  machinery  in  motion.  By  this 
transportation  of  energy,  the  machines  could  be  placed  by  the  side  of 
the  objects  that  they  had  made.  For  each  group,  materials,  process  and 
products  could  be  united,  animating  the  exhibition  and  impressing  its 
lessons  in  a  durable  manner.  At  night,  when  the  motors  had  suspended 
operations  in  most  of  the  closed  galleries,  electricity  became  light.  Such 
an  illumination,  for  power,  intensity,  and  diversity  had  never  been  seen. 
The  Monumental  Gate  and  the  front  of  the  Palace  of  Electricity  were 
especially  noteworthy.  The  Seine  with  its  bridges  and  its  palaces 
turned  toward  the  river,  was  animated  with  a  Venetian  life,  while  the 
scintillations  of  arc  lights  threw  on  the  gardens  a  peaceful  moon-light. 

To  these  useful  miracles,  to  this  animation  of  machinery  in  the  gal¬ 
leries,  to  these  luminous  decorations,  must  be  added  the  perpetual 
round  of  the  railroad  and  the  rolling  platform,  the  indefatigable  march 
of  27  inclined  planes,  and  one  can  have  an  idea  of  the  benefits,  which, 
from  the  top  of  her  Palace,  the  fairy  Electricity  conferred  on  the  Ex¬ 
position. 


Engineering  and  Transportation. 


OOKING  southward  into  the  ornamental  stretches  of  the 
Champ  de  Mars,  from  beneath  the  arches  of  the  Eiffel 
Tower,  one  saw  on  the  easterly,  or  right,  side,  and  as  a 
first  presentment,  the  magnificent  proportions  of  the 
Palace  of  Education  and  Instruction  and  of  Letters, 
Sciences  and  Arts.  Already  a  walk  had  been  taken  through  the  spac¬ 
ious  halls  and  amid  the  wonderful  displays  of  this  superb  structure.  One 
was  therefore  ready  to  extend  the  walk  to  the  next,  or  second,  Palace  on 
the  same  side  of  the  Champ  de  Mars,  that  is  to  say,  to  the  Palace  of  Civil 
Engineering.  This  Palace  abutted  so  immediately  on  the  first  as  to 
appear  like  an  extension  of  it.  In  its  numerous  and  spacious  courts 
were  found  the  all-world  objects  which  exemplified  the  sixth  grand 
group  of  the  Exposition,  the  group  of  Civil  Engineering  and  Transpor¬ 
tation. 

According  to  the  M.  Picard  arrangement,  thus  Group  VI  fell  nat¬ 
urally  into  the  following  classes,  whose  numbers  began  where  those  of 
Group  V  ended : 

Class  28.  Materials,  Plant  and  Processes  relating  to  Civil  Engineer¬ 
ing. 

Class  29.  Models,  Plans,  and  drawings  relating  to  Public  Works. 

Class  30.  Carriages,  motor  cars,  cycles,  and  general  Wheelwright 
Work. 

Class  31.  Saddlery  and  Harness. 

Class  32.  Railway  and  Tramway  Plant. 

Class  33.  Materials  and  Plant  used  in  the  Merchantile  Marine, 
Steam  and  Sail. 


261 


262 


THE  PARIS  EXPOSITION. 


Class  34.  Aeronautics— Balloon  and  Machine  Flying. 

The  exhibits  of  this  interesting  group  occupied  upper  and  lower 
floors  of  the  Palace,  or  as  the  French  designate  them,  ground  and  first 
floors  (second  story) ;  and  as  was  usual,  and  in  most  instances  necessary, 
the  larger  and  weightier  machines  and  objects  were  found  on  the  ground 
floor.  Thus,  in  beginning  one’s  study  of  the  Group  with  Class  28,  the 
section  devoted  to  it  contained  upon  the  ground  floor  a  fine  selection  of 
the  heavier  materials  and  machines  illustrative  of  civil  engineering  plans 
and  plants,  while  on  the  floor  above  appeared  the  displays  indicating  the 
variety  and  quality  of  structural  cements  and  artificial  building  stones. 
The  Class  throughout  was  a  very  full  illustration  of  the  status  of  modern 
civil  engineering,  and  was  particularly  attractive  to  engineers  and  build¬ 
ers.  One  of  its  objects  which  proved  to  be  a  centre  of  admiration  and 
study,  especially  in  view  of  the  fact  that  Paris  was  fast  eclipsing  all  other 
cities  in  the  beauty  and  perfection  of  its  underground,  or  subway,  means 
of  travel  and  communication,  was  that  comprising  the  model  plant  of  the 
very  enterprising  and  successful  Orleans  Company,  where  modern  tun¬ 
neling  operations  have  been  a  surprise  to  the  engineering  world. 

In  the  same  part  of  the  Palace  of  Civil  Engineering,  and  contiguous 
to  Class  28,  was  found  Class  29,  showing  the  models,  plans  and  draw¬ 
ings  relating  to  Public  Works.  This,  again,  was  a  centre  of  peculiar  in¬ 
terest  to  civil  engineers  and  contractors.  It  exemplified  roads  and  other 
public  means  of  communication  by  land ;  bridges  and  viaducts  of  every 
conceivable  shape,  strength  and  engineering  device ;  inland  navigation ; 
means  of  conserving  the  waters  of  rivers;  canal  construction,  with  its 
dams,  locks,  elevators,  fixed  bridges  and  draw  bridges,  reservoirs,  feed¬ 
ers,  pumping  stations,  mechanical  warping  and  towing  paths,  plants  and 
implements  used  at  river  ports.  Then  under  the  head  of  seaports  were 
shown  the  general  arrangements,  the  jetties,  basins,  locks,  swing 
bridges;  the  plant  and  implements — where  the  same  had  not  been  in- 


THE  BRIDGE  OF  INVALIDS  AND  STREET  OF  NATIONS. 


ENGINEERING  AND  TRANSPORTATION. 


26$ 


eluded  under  shipping — in  use  at  seaports;  maritime  canals;  sea-coast 
illumination,  buoys,  light-houses,  light-ships  and  beacons;  wing-dams, 
rip-raps,  levees  and  other  works  for  protection  against  flooding  by  river 
and  sea.  And  here,  too,  were  shown  the  office,  or  early  engineering, 
work  upon  railroads,  that  is,  how  they  were  treated  upon  paper  as  re¬ 
gards  plan  and  profile  and  preliminary  calculation  and  estimate;  also 
exemplifications  of  the  best  means  and  methods  of  the  construction  of 
roads  and  streets  in  towns  and  cities.  Means  of  affording  a  plentiful 
and  pure  water  supply  for  cities  were  shown  under  this  Class  29,  as 
well  as  modern  systems  of  sanitary  engineering  and  gas  lighting,  to¬ 
gether  with  network  conduiting  for  telegraph  and  other  tubing  systems 
worked  by  compressed  air.  To  crown  all  was  a  plentiful  display  of  books 
and  maps  containing  statistical  and  other  engineering  information  re¬ 
lating  to  public  works,  and  particularly  to  those  which  appertained  to 
the  Exposition  of  1900. 

The  exhibits  of  Class  30  proved  to  be  a  delight,  and  a  revelation, 
to  those  loving  to  hold  the  reigns,  to  speed  on  the  bicycle,  or  to  spin  to 
the  hum  of  the  automobile.  The  Class  possessed  a  charm  for  the 
amateur  as  well  as  the  closer  observing  engineer.  It  embraced  all 
vehicles  intended  for  traffic  on  roads,  excepting  railroads,  from  the  sim¬ 
ple  roller  skate  to  the  huge  motor  omnibus.  There  were  numerous  sub¬ 
divisions,  or  sections  of  the  Class,  in  which  were  found  all  the  modern 
appliances  for  the  manufacture  and  control  of  carriages,  wheels  and 
cycles ;  and  for  the  technical  exemplification  of  new-fangled  motors,  gas 
engines,  motor  cycles,  automobiles,  velocipedes,  machine  moved  trans¬ 
ports  and  tradesman’s  vans,  delivery  wagons,  as  well  as  magnificent  car¬ 
riages,  coaches  of  state  fitted  up  with  harness  and  other  accessories,  mail 
coaches,  drags,  phaetons,  buggies,  sulkies,  pony  carriages,  sleighs,  great 
automobile  omnibusses.  An  annex  connected  with  this  Class  was 
erected  in  the  suburban  Vincennes  Wood,  where  automobiles,  cycles  and 


*3 


266 


THE  PARIS  EXPOSITION. 


other  auto-motors  were  placed  on  exhibition  as  to  speed,  endurance  and 
general  utility. 

On  the  ground  floor  of  the  Palace  was  found  the  abode  of  Class  31 
of  the  Group.  This  Class  was  devoted  to  exhibits  of  Saddlery  and 
Harness.  It  embraced  a  display  of  riding  and  stable  harness  for  horses 
and  for  draught  animals.  State  harness,  saddles,  bridles,  harness  for 
public  service  and  carriage  harness,  and  all  parts  of  harness  and  ma¬ 
terials  and  inventions  connected  with  saddlery  and  harness  making. 

The  united  Centennial  Museum  of  these  two  classes  is  full  of  in¬ 
terest.  It  consisted  of  a  complete  collection  of  ancient  carriages;  a 
Roman  chariot,  a  litter,  a  post-chaise,  sedan-chairs,  a  travelling  car¬ 
riage  of  Louis  XV.,  a  wheel-barrow  chair  borne  by  two  mules  like  a 
sedan-chair,  a  Louis  XV.  sleigh,  the  campaigning  carriage  of  General 
Mortier,  a  “berline”  of  the  Empire,  a  State  coach  of  the  18th  century, 
and  a  landau  all  harnessed  with  horses  and  footmen  complete.  This 
collection  was  succeeded  by  another  of  small  models  of  coaches  and 
carriages  constructed  during  the  last  twenty  years.  Beyond  this  were 
found  the  State  harness  of  the  Empress,  the  goat-chair  belonging  to 
the  Comte  de  Chambord,  Prince  Murat’s  State  harness,  Baron  Vittea’s 
grand  collection  of  bits  and  bosses;  a  collection  of  engraved  spurs,  an 
old  mail-cart,  harnessed,  and  a  very  curious  retrospect  collection  of 
cycles. 

The  mention  already  made  of  Class  28,  the  first  class  of  this  inter¬ 
esting  Group,  or  the  class  embracing  materials,  plant  and  processes  re¬ 
lating  to  civil  engineering,  was  of  that  portion  of  the  class  which  was 
found  on  the  first  floor  (second  story).  Reference  must  now  be  made 
to  that  portion  of  the  class  which  was  found  on  the  ground  floor.  Here 
were  found  a  great  number  of  building  materials  other  than  timber  or 
materials  from  quarries,  metal  and  ceramic  products.  Here  were 


ENGINEERING  AND  TRANSPORTATION.  267 

lime,  cement,  plaster,  artificial  stone  and  so  forth  that  one  sees,  together 
with  plant  and  method  used  in  the  production  of  these  materials.  Then 
there  followed  the  method  used  for  testing  building  materials,  the  work¬ 
ing  up  and  preparing  of  building  materials,  the  implements  and 
methods  used  by  stone  dressers,  stone  cutters,  masons,  carpenters, 
slaters,  joiners,  locksmiths,  plumbers,  glaziers  and  painters,  and  also 
those  employed  for  earth  work,  the  hand  tools  that  are  needed,  exca¬ 
vators,  dredgers,  barrows,  tip  wagons,  contractors’  rails,  hand  cars 
and  trucks;  then  there  were  plant,  other  pumps,  and  methods  used  in 
making  foundations,  such  as  pile  drivers,  piling,  screw  piles,  pneumatic 
apparatus  and  the  plant  and  method  used  for  the  transport  and  dis¬ 
tribution  of  materials,  as  well  as  maintenance  of  roads,  streets  and 
public  promenades. 

Class  32  of  the  group  was  devoted  to  Railway  and  Tramway  Plant. 
It  consisted  of  two  sections,  one  representing  steam  railways,  the  other 
tramways,  or  street  railways.  Parts  of  each  of  these,  that  is,  parts  which 
showed  speed  of  travel,  were  not  in  the  Palace,  but  were  relegated  to 
the  Bois  de  Vincennes  (Vincennes  Woods),  where  the  areas  permitted 
the  laying  of  tracks  and  speed  exhibitions.  There,  close  by  lake  Dau- 
menil,  one  found  Mr.  Baudry’s  celebrated  electrical  engine  in  opera¬ 
tion,  with  its  speed  of  seventy-five  miles  an  hour.  This  engine  made  its 
first  successful  experiments  in  1897  and  in  1898.  At  these  trials  a 
speed  of  sixty-two  miles  an  hour  was  easily  attained,  while  drawing  a 
load  of  one  hundred  tons.  Further  trials  were  designed,  tending  to 
show  the  conditions  necessary  to  establish  a  scheme  of  electrical  trans¬ 
port  on  a  reliable  financial  footing.  The  Western  Railway,  which  was 
about  to  transform  its  connecting  lines  into  electric  ones,  had  here  a 
series  of  exhaustive  displays. 


268 


THE  PARIS  EXPOSITION. 


But  to  go  back  to  the  Palace.  There  in  the  section  of  Class  32, 
devoted  to  railways,  were  found  numerous  exhibits  of  locomotion  and 
rolling  stock.  Passenger  carriages  of  great  variety  were  shown,  vans 
and  goods  wagons,  as  well  as  separate  parts  of  the  same,  continuous 
brakes,  train  signalling  apparatus,  engine  sheds,  engine  works  and  re¬ 
pairing  shops,  snow  ploughs,  measuring  instruments,  dynamometers, 
and  various  kinds  of  indicators.  Relating  to  traffic,  there  were  the 
train  diagrams,  schemes  for  the  distribution  of  rolling  stock,  plans  for 
cleaning  and  disinfecting.  There  were  movable  signals  and  other 
means  adopted  for  securing  the  safety  of  traffic,  tickets,  ticket  cases, 
notices,  lists  of  fares,  and  all  that,  including  goods  traffic,  goods  rates, 
and  methods  and  plant  adopted  for  storing  and  handling  goods. 

Then  came  a  variety  of  systems  of  railways;  these  included  rack, 
cable,  overhead,  and  sliding  railways,  and  movable  platforms,  and 
motor  or  other  forms  of  engine  used  for  propulsion,  as  well  as  the  roll¬ 
ing  stock  connected  with  all  this. 

The  next  section  was  devoted  to  tramways,  and  in  this  were  shown 
various  types  of  permanent  way  used  on  different  kinds  of  roads,  the 
points  and  crossings  necessary,  the  turntables,  the  turning  loops  and 
triangles,  and  implements  used  for  track  laying  and  cleaning.  With 
the  rolling  stock  for  tramways  were  also  shown  the  brake  gear,  and  the 
plant  used  for  storing  power,  whether  it  be  hot  water,  compressed  air, 
electricity  or  what  not.  The  transport  of  ships  over  railways  was  also 
shown,  and  to  end  up  with,  statistics  and  special  maps  and  works  re¬ 
lating  to  railways  were  to  be  seen.  The  South  African  Line  made  a 
very  interesting  exhibit  of  its  narrow  gauge  system. 

The  Centennial  Museum  of  this  section  was  represented  by  a  very 
remarkable  series  of  exhibits,  in  the  form  of  the  first  train  to  St.  Ger- 


SHIP  OF  CHOCOLATE. 


ENGINEERING  AND  TRANSPORTATION.  2;  i 

main  with  Stephenson's  locomotive,  “Evicta,”  the  attendants  being 
dressed  in  the  costumes  of  the  first  half  of  the  nineteenth  century. 

Class  33  of  Group  VI.  was  a  large  and  imposing  one,  and  found 
a  home  by  itself.  The  Class  embraced  Material  and  Plant  used  in  the 
Mercantile  Marine.  It  was  found  in  the  Mercantile  Marine  Palace,  or 
Palace  of  Navigation,  situated  on  the  left,  or  south,  bank  of  the  Seine, 
to  the  immediate  right  of  the  Jena  Bridge,  and  between  a  portion  of 
the  Seine  front  of  the  Champ  de  Mars  and  the  river.  This  Palace  was 
a  capacious  structure,  without  any  stated  architectural  lines  and  with 
no  pretentions  to  beauty.  The  principal  entrance  to  it  was  facing  the 
Jena  Bridge.  The  space  reserved  for  French  exhibits  of  the  Class 
occupied  about  one-half  of  the  area  covered  by  the  building.  The 
balance  of  the  space  was  occupied  by  the  exhibits  of  Spain,  Austria, 
Russia,  Germany,  United  States,  Netherlands,  Italy  and  Great  Britain. 

The  Palace  consisted  of  two  stories,  or,  as  the  French  put  it,  a 
ground  and  first  floor.  On  the  ground  floor  one  noticed  with  pleasure 
the  decorations  of  the  wooden  joists,  representing  anchors,  escutcheons, 
and  various  naval  allegories.  A  grand  gallery  ran  parallel  with  the 
bank  of  the  Seine.  There  was  a  large  central  hall,  over  whose  middle 
rose  a  cupola,  and  up  from  which  one  mounted  to  the  first  floor  (second 
story)  by  means  of  a  magnificent  staircase.  The  first  floor  also  con¬ 
tained  a  spacious  hall  and  a  grand  gallery. 

The  ground  floor  gallery  fronting  the  Seine  was  the  scene  of  a 
great  number  of  exhibits  of  life-saving  apparatus,  in  competion  for  a 
prize  of  $20,000  offered  for  the  best  by  the  heiresses  of  Mr.  and  Mrs. 
Anthony  Poliak,  who  were  lost  in  the  wreck  of  the  ship  Bourgogne. 
Here  also  were  exhibits  of  greatly  improved  arrangements  for  the 
launching  of  life-boats. 


2J2 


THE  PARIS  EXPOSITION. 


The  grand  staircase  was  made  the  scene  of  a  highly  decorative 
exhibition  of  objects  belonging  to  the  French  Yacht  Union.  They 
consisted  of  boats,  yacht  regulations,  flags,  signals  and  other  parapher¬ 
nalia  connected  with  yachting  sport. 

Under  the  cupola  was  a  small-sized  boat,  with  all  its  apparatus, 
exhibited  by  the  Central  Life  Saving  Society;  also  a  sailing  boat  and 
petroleum  boat  built  by  the  celebrated  Tellier  firm.  Here  also  were 
important  exhibitions  of  the  Suez  Canal. 

Under  the  hall  was  a  Retrospective  Exhibition  from  1800  of 
models  of  merchant  vessels,  and  a  very  fine  collection  of  large  and 
small  coasters.  Still  continuing  under  the  hall  were  the  respective  ex¬ 
hibitions  of  Russia,  Germany,  the  United  States,  and  Great  Britain,  of 
their  commercial  navigation,  ship’s  boats  full  size,  mooring-cable’s, 
cranes,  life-saving  objects.  To  the  right  of  the  Palace,  in  the  part  near 
the  Moulineaux  Railway,  were  exhibitions  of  hemp  and  steel  cordage 
by  the  firms  of  Max  Richard  and  Segris  et  Bessonneau,  and  full  size 
reproductions  of  engines  and  boilers,  by  the  firms  Delauney-Belleville 
and  Niclause  et  Turgan. 

Ascending  to  the  first  floor  (second  story)  one  found  at  the  top  of 
the  grand  staircase  a  fine  exhibition  of  models  of  boats  by  the  General 
Navigation  Companies  of  Havre,  Paris,  Lyons,  Marseilles.  In  the  Gal¬ 
lery  surrounding  the  cupola  was  a  magnificent  exhibition  of  life-saving 
objects,  arrangement  and  equipment  of  vessels,  implements,  etc.,  by 
the  firm  of  Meteyer.  On  the  Bridge  in  the  centre  was  an  exhibition 
of  raw  materials,  paint,  etc.,  for  shipping,  and  magnificent  saloon  from 
the  works  at  Grenelle.  To  the  right  in  the  gallery  surrounding  the 
hall  was  an  exhibition  of  models  of  boats  by  the  companies  of  the  “Loire 
ship-building  yards,”  the  yards  of  the  “Mediterranean,”  and  the  works 
of  M.  Statre  Sons  of  Lyons. 


ENGINEERING  AND  TRANSPORTATION. 


273 


To  the  left  were  models  of  the  boats  of  the  transport  companies, 
steamers  and  sailing-vessels  of  the  Transatlantic  Company,  the  com¬ 
bined  shippers  and  the  Havre  Peninsular  Company.  Facing  this  com¬ 
pany’s  show-case  was  an  Exhibition  by  Jeanselme,  water-color  draw¬ 
ings  representing  the  arrangement  of  Atlantic  liners.  Among  the  for¬ 
eign  sections  the  most  interesting  were  those  of  Great  Britain  (2  sec¬ 
tions)  ;  the  Germany  section,  crowned  with  a  reproduction  of  the  Ham¬ 
burg  light-house;  the  Italian  division,  the  Russian  and  the  American. 

The  Pavilion  of  Maritime  Transportation  stood  behind  the  Moul- 
ineaux  Railway,  between  the  Jena  Bridge  and  the  Pavilion  of  the  Cham¬ 
ber  of  Commerce.  Its  low  construction  and  its  roof  put  one  in  mind 
of  the  hull  of  a  vessel  turned  upside  down.  It  was  surmounted  by 
several  masts,  adorned  with  flags  used  on  the  company’s  vessels.  The 
Company  of  Maritime  Transportation  seized  the  occasion  of  the  Uni¬ 
versal  Exhibition  to  celebrate  its  fiftieth  anniversay,  and  it  formed  a 
retrospective  and  a  present-day  exhibition;  so  that  one  could  judge  of 
the  progress  made  by  its  works  during  this  period. 

In  close  proximity  to  the  Mercantile  Marine  Palace,  and  just 
across  the  Moulineaux  Railway,  stood  the  Paris  Chamber  of  Com¬ 
merce.  This  institution  enjoys  world-wide  reputation  and  authority 

;and  is  the  only  Chamber  of  Commerce  in  France  which  possesses  thirty- 

1 

six  members  instead  of  twenty.  It  also  boasts  two  vice-presidents,  and 
two  secretaries.  Owing  to  its  importance  therefore  in  the  World  of 
Commerce,  it  was  decided  that  all  its  various  sections  should  be  ex¬ 
hibited  under  one  roof.  A  beautiful  Pavilion  was,  therefore,  designed 
by  M.  Roy  to  the  left  of  the  Jena  Bridge,  somewhat  in  the  style  of  the 
Trianon.  This  charming  edifice  contained  a  reception  hall,  an  equally 
fine  exhibition  or  section  and  a  suite  of  rooms  for  M.  Masson,  the  Presi¬ 
dent  of  the  Chamber. 


THE  PARIS  EXPOSITION. 


274 

The  collection  consisted  of  a  series  of  engravings  and  photographs 
and  “reductions,”  which  served  to  illustrate  the  worth  of  the  Chamber 
of  Commerce  of  the  city  of  Paris.  Besides  these  there  was  an  interest¬ 
ing  library  of  books  connected  with  the  same  service.  The  various 
machines  for  drying  silks,  analyzing  paper,  and  determining  the  right 
weight  of  various  articles  of  commerce  were  exceedingly  interesting. 
The  Custom  House  exhibits  were  also  in  this  Section,  as  well  as  those 
for  determining  the  weight  and  carrying  power  of  fire  arms,  which  ren¬ 
ders  Parisian  manufacturers  independent  of  Liege  and  St.  Etienne. 

The  Chamber  of  Commerce  also  exhibited  matter  connected  with 
the  various  water  works.  Commercial  schools  for  both  sexes,  under 
its  special  direction.  The  exhibits  of  the  National  Office  of  Foreign 
Commerce  were  also  included  in  this  Section. 

Class  34  of  this  Group  was  devoted  to  Aeronautics.  This  Class, 
by  reason  of  the  large  and  clear  open  air  space  required,  was  displayed 
in  the  Bois  de  Vincennes  (Vincennes  Woods),  one  of  the  handsomest 
of  the  environs  of  Paris,  and  accessible  by  trolley  and  steam  cars,  and 
by  water.  The  scene  of  the  exhibition  of  Aeronautics  was  near  the 
southeast  extremity  of  the  grounds.  Here  balloon  ascensions  took  place 
every  Thursday  afternoon  from  May  to  September.  There  were  other 
aerial  exhibitions  such  as  scientific  kite  flying,  etc. 

The  balloon  ascensions  were  competitive,  and  in  the  nature  of 
aerial  races,  the  strife  being  to  break  records  of  lofty  flight  and  win 
prizes.  Large  crowds  attended  these  flights  of  races,  especially  the 
one  on  the  17th  of  June,  which  was  the  most  beautiful.  The  maneuvres 
of  the  swelling  balloons  attracted  a  certain  interest,  but  it  was  the 
simultaneous  departure  of  a  numerous  flotilla  which  excited  popular 
enthusiasm. 

In  making  serious  races,  the  true  handicap  is  to  have  all  the 
balloons  depart  at  the  same  time.  The  caprices  of  the  air  are  so  great 


ENGINEERING  AND  TRANSPORTATION. 


*75 

that  two  balloons  ascending  from  the  same  place  a  quarter  of  an  hour 
apart  cannot  have  the  same  temperature,  or  clouds  or  wind.  On  the 
17th  of  June,  ten  balloons  of  elaborate  construction  and  large  size,  were 
sent  up  from  Vincennes,  by  experienced  aeronauts,  but  the  time  of 
flight  was  not  extended  by  an  hour;  on  the  contrary  it  was  diminished 
11  hours.  The  record  had  been  29  hours,  and  the  victor  of  July  7  re¬ 
mained  only  18  hours  in  the  air. 

The  race  of  June  17  was  surprised  by  a  storm,  which  permitted 
M.  Genty,  director  of  Aerostatic  Park  of  Toulon  to  make  some  inter¬ 
esting  observations  on  board  the  victorious  balloon,  and  to  communi¬ 
cate  them  to  the  Academy  of  Sciences.  But  the  advantage  that  science 
might  have  derived  from  a  night  flight,  in  which  the  aeronauts  navi¬ 
gated  in  the  midst  of  the  lightning  was  lessened  by  the  fact  that  certain 
of  the  contestants,  who  had  given  evidence  of  great  technical  skill, 
were  obliged  to  descend  to  the  ground  because  a  part  of  their  ballast 
had  been  put  under  seal.  The  inconveniences  of  handicapage  were  even 
more  apparent  in  the  race  of  June  24,  where  the  prize  was  awarded  to 
the  contestants  who  attained  the  greatest  height.  The  victorious  bal¬ 
loon  only  reached  a  height  of  28,000  feet,  although  numerous  ascen¬ 
sions  with  illuminating  gas  have  reached  23,000,  and  even  26,000  feet, 
without  the  aid  of  oxygen  gas  that  the  aeronauts  had  the  right  to 
breathe  in  the  race  of  June  24. 

The  baMoon  enclosure  of  the  Exposition  contained  an  elegant 
monument,  which  remains  in  the  Forest  of  Vincennes  for  the  various 
usages  of  aerial  navigation. 


Agriculture. 


N  seeking  a  view  of  the  Palace  of  Agriculture  one  could  not 
avail  himself  of  the  magnificent  vista  of  the  Champ  de 
Mars  (Camp  of  Mars),  for  it  was  ended  by  the  gorgeous 
intervening  facade  of  the  Palace  of  Electricity  and  Castle 
of  Waters;  and  yet  for  spaciousness  and  adaptation, 
hardly  any  Palace  excelled  that  of  Agriculture.  It  occu¬ 
pied  the  entire  rear  space  of  the  Champ  de  Mars,  except  that  central  part 
which  was  taken  up  by  the  Salle  des  Fetes  (Hall  of  Fetes);  that  is,  it 
backed  up  the  Palace  of  Electricity,  extended  its  southerly  front  the  full 
width  of  the  Champ  de  Mars,  along  the  Avenue  Motte-Picquet,  its  right 
front  along  the  Avenue  Suffren,  and  its  left  along  the  Avenue  Bourdon- 
nais.  The  side  next  the  latter  avenue  was  occupied  by  the  French  ag¬ 
ricultural  section,  that  next  to  the  Avenue  Suffren  by  the  foreign  sections 
of  the  agricultural  exhibition.  It  was  thus  not  only  conveniently  sit¬ 
uated  for  admission,  but  was  susceptible  of  ready  sub-division  for  the 
purposes  of  departmental  displays. 

The  important  subject  of  Agriculture  formed  the  seventh  grand 
group  of  the  Exposition  of  1900,  according  to  the  M.  Picard  system  of 
arrangement,  and  this  group — Group  VII — was  divided  into  the  fol¬ 
lowing  classes,  its  numbers  beginning  where  those  of  Group  VI  left  off : 

Class  35.  Implements  and  Processes  used  in  Rural  Cultivation. 

Class  36.  Appliances  and  Processes  used  in  Vine  Culture. 

Class  37.  Appliances  and  Processes  used  in  Agricultural  Industries. 

Class  38.  Theory  of  Agriculture  (Agronomy) — Statistics. 

Class  39.  Vegetable  Food  Products. 

277 


THE  PARIS  EXPOSITION. 


Class  40.  Animal  Food  Products. 

Class  41.  Non-edible  Agricultural  Products. 

Class  42.  Useful  Insects  and  their  Products — Destructive  Insects 
and  Parasitic  Plants. 

An  important  interior  arrangement  of  the  Palace  of  Agriculture 
must  here  be  noted.  It  was,  especially  as  to  the  French  section,  the 
home  not  only  of  the  group  (Group  VII)  embracing  Agricultural  exhib¬ 
its,  but  also  that  of  its  associate  Group  (Group  X),  embracing  Food 
Products.  Not  only  was  this  so  as  to  the  two  groups  themselves,  but 
when  they  were  classified,  the  respective  classes  were  so  arranged  as  to 
be,  when  possible,  in  juxta-position;  and  further,  that  intimacy  of  posi¬ 
tion  was  supplemented  by  similarity  of  kind  or  quality,  the  general  intent 
and  effect  being  to  continue  the  lines  of  agricultural  production  objec¬ 
tively  through  to  those  of  food  production  or  preparation,  the  two  being, 
as  it  were,  associate.  Thus,  when  one  had  seen,  for  instance,  a  grain 
from  the  standpoint  of  an  agricultural  production,  it  was  a  prime  object 
lesson  to  view  it  in  a  near-by  section  from  the  standpoint  of  a  food  pro¬ 
duction,  that  is,  as  it  was  undergoing  the  process  of  conversion  into 
edible  and  nutritive  form.  It  was  just  such  minute,  ingenius  and  intel¬ 
ligent  arrangements  as  these  that  made  the  entire  Exposition  so  strik¬ 
ing,  instructive  and  faithful  to  the  true  educative  principle. 

Class  35,  the  first  of  Group  VII,  naturally  occupied  a  large  space  in 
the  Palace  of  Agriculture,  and  also  many  of  its  annexes,  or  extensions. 
It  was  redolent  of  the  farm,  and  one  felt  amid  its  mazes  as  if  transported 
to  some  rural  scene,  enlivened  by  husbandmen  and  the  paraphernalia 
of  earth  cultivation.  Here  were  the  implements  and  the  processes 
which  exemplified  French  tillage.  It  would  be  well  for  the  reader  to 
remember  that  the  scene  lay  in  that  part  of  the  Palace  containing  the 
French  exhibits  of  this  agricultural  class  (Class  35),  and  that  as  yet  the 
right  hand  section  of  the  Palace  containing  the  agricultural  exhibits  of 


HORTICULTURAL  HALL— FRENCH  SECTION.  HORTICULTURAL  HALL— FOREIGN  SECTION. 


AGRICULTURE. 


281 

foreign  nations,  in  all  their  endless  variety,  had  yet  to  be  visited.  To 
continue  them,  here  also  were  found  numerous  interesting  specimens 
of  the  various  types  of  rural  cultivation ;  plans  and  models  of  farm  build¬ 
ings;  general  arrangements  of  buildings  and  farms;  sheep-runs  and 
sheep-folds;  cattle  sheds;  pig  styes;  paddocks  for  breeding  purposes; 
special  arrangements  for  breeding,  rearing  and  fattening  cattle ;  stabling 
and  stable  utensils;  sheddings;  kennels;  and  innumerable  other  objects 
illustrative  of  this  feature  of  rural  cultivation. 

These  were  appropriately  supplemented  by  exhibits  showing  the 
practical  activities  of  farming,  as,  for  instance,  the  treatment  of  animals 
when  sick ;  and  here  were  brought  to  view  the  appliances  and  methods 
used  in  modern  veterinary  surgery ;  improvements  in  agricultural  engin¬ 
eering,  as  in  the  draining  of  bogs,  fens  and  marshes ;  appliances  used  in 
husbandry ;  dealing  with  the  clearing  and  planting  of  land ;  preparation 
and  preservation  of  crops ;  harvesting ;  preservation  and  use  of  manures ; 
making  of  artificial  manures.  Then  there  were  agricultural  implements 
of  a  variety  of  forms  and  uses — those  drawn  by  horses  and  oxen,  or  pro¬ 
pelled  by  wind,  water,  steam  and  electricity;  also  locomotive  agricul¬ 
tural  machines  and  horse  gears ;  windmills,  pumps,  road  transports,  corn 
cribs,  silos,  and  appliances  for  preparing  food  for  animals. 

Perhaps  no  interest  in  France,  classed  as  agricultural,  is  of  greater 
moment  than  the  culture  of  the  vines.  This,  then,  became  the  subject 
of  a  class  by  itself — Class  36,  of  Group  VII,  or  the  class  devoted  to  the 
Appliances  and  Processes  used  in  Vine  Culture.  This  class  furnished  a 
signal  instance  of  that  associative  arrangement,  before  mentioned,  of 
kindred  classes  which  went  so  far  toward  heightening  the  instructive 
value  of  the  Exposition  of  1900.  It  found  a  home  in  a  very  handsome 
separate  building,  which  also  housed  Class  60,  of  Group  X,  the  group 
being  that  of  Food  Products,  and  the  class  being  that  of  Wines  and 


282 


THE  PARIS  EXPOSITION. 


Brandies.  One  could  thus  instinctively  associate  the  entire  science  and 
business  of  agriculture  with  its  practical  results. 

In  the  spaces  allotted  to  vine  culture  one  found  in  neatly  arranged 
form  the  types  of  buildings,  tools  for  staving  in,  vine  ploughs,  hoes,  and 
implements  used  for  grafting,  pruning,  and  gathering.  A  collection  of 
roots  was  shown,  also  the  appliances  used  in  vintage,  in  wine  sheds,  in 
cellars,  grape  pickers,  wine  pressers,  and  the  system  of  wine  making, 
together  with  the  methods,  appliances,  and  materials  used  for  preserv¬ 
ing  wine.  Diseases  of  the  vine,  and  the  best  methods  of  checking  them, 
were  also  dealt  with. 

As  already  stated,  Class  36  was  intimately  associated  with  its  sister 
Class  of  Group  X. — Wines  and  Brandies.  The  two  occupied  a  dis¬ 
tinct  and  remarkably  handsome  building  capable  of  sheltering  7,000 
visitors,  and  the  joint  exhibit  was  known  as  the  Wine  Section  of  the 
Exposition.  To  the  left  of  the  principal  hall  was  the  gallery  or  space 
for  vine-culture,  as  above  mentioned.  In  it  was  a  diorama  painted  by 
the  artist  Decouchy.  It  represented  one  of  the  most  typical  vineyards 
of  the  Champagne  district  during  the  season  of  vintage.  Beside  it 
was  a  model,  one-tenth  in  size,  of  a  wine-maker’s  press,  at  the  moment 
the  grapes  were  being  brought  in,  with  the  weighing  and  pressing  of 
the  grapes.  A  long  glass  case  nearby  was  crowded  with  a  series  of  ex¬ 
hibits  representing  in  natural  order  the  steps  of  vine-growing  from 
the  spring-pruning  to  the  vintage.  Opposite  this  case  hung  a  bas-relief 
map  of  the  Rhenish  vineyards,  with  the  details  of  the  wines  peculiar  to 
each  district. 

Before  leaving  this  building  the  visitor  should  have  inspected  the 
gallery  of  Accessory  Industries,  where  the  Syndicate  showed  specimens 
of  all  the  principal  industries  owing  their  existence  to  the  champagne 
trade.  First  came  champagne  bottle  manufacture,  with  a  replica  of  a 


AGRICULTURE. 


283 

furnace  one-tenth  real  size;  then  cork,  of  which  Champagne  imports 
eighty  millions  annually  from  Spain;  then  candied  cane  sugar,  used  for 
thickening  the  effervescence  and  sweetening  the  wine,  and  lastly  the 
ingenious  tools  used  in  the  work  and  the  industries  which  produce  all 
the  necessary  articles  for  making  up  the  bottles,  that  is  to  say,  the 
labels,  metal  caps,  sheets  of  tinfoil,  wire,  etc. 

Descending  to  the  ground  floor  one  came  to  a  model  wine-store 
belonging  to  Class  36,  which  represented  a  typical  wine  vault  and  its 
contents,  from  press  and  vat  to  the  bottling  and  labeling.  Further  on, 
the  Haute  Garonne  showed  a  fragment  of  a  cloister  surmounted  by  a 
brick  belfry.  Quite  close  was  a  Tower  of  Justice  by  Carcassonne,  in 
the  interior  of  which  was  seen,  through  a  window,  a  diorama  repre¬ 
senting  the  City  Brewery.  To  inspect  the  wines  o»f  Le  Gard  one  passed 
under  the  ruined  gateway  of  Augustus;  here  was  also  an  exhibit  from 
Herault;  the  Saumur  syndicate  had  a  very  fine  pavilion  in  Renaissance 
style,  and  a  small  building  erected  on  rollers,  which  continually  turned 
round  and  round,  and  presented  in  turn  its  various  exhibits.  The  wine 
merchants  of  the  Seine  were  quartered  in  a  Renaissance  building,  the 
component  parts  of  which  were  taken  from  the  works  of  Jean  Goujon; 
the  nymph  of  the  Seine  adorned  the  front.  The  Boissons  department 
reminded  one  of  the  fine  wines  the  monks  produced.  Next  to  it  was 
a  handsome  Louis  XIV.  fountain.  Finally,  the  department  of  the 
Upper  Loire  had  a  picturesque  Breton  belfry. 

Among  the  large  pavilions  there  were  scattered  here  and  there  all 
sorts  of  little  kiosks,  wine  arbors,  and  drinking  bars  belonging  to  indi¬ 
vidual  exhibitors. 

All  around  were  shown  the  implements  of  wine  culture  peculiar  to 
each  district,  wine  grower’s  ploughs,  tools  for  grafting  and  pruning, 
vine  slips,  winesheds,  presses,  plant  for  use  in  wine  making  and  fer- 


284 


THE  PARIS  EXPOSITION. 


mentation.  One  noticed  particularly  an  enormous  champagne  bottle 
in  cask-staves,  the  hydraulic  wine-presses,  the  Moet  settling-stick,  and 
a  copy  on  a  small  scale  of  a  Burgundian  vatting  cellar. 

These  two  classes  (36  and  60)  had  also  annexes  in  the  Avenue 
Motte  Picquet,  near  the  Avenue  Bourdonnais.  One  noticed  the  Mer- 
cier  pavilion,  composed  of  two  casks,  connected  by  a  bell  tower,  in  the 
interior  of  which  a  cinematograph  showed  views  of  the  Mercier  cellars 
at  Epernay,  and  the  enormous  tun  of  M.  Fruhinsoliz  of  Nancy,  which 
measures  18  metres  by  19,  and  holds  4,200  hectolitres  (110,000  gallons). 

The  products  to  be  submitted  to  the  International  Jury  were  ex¬ 
hibited  in  a  room  in  the  Government  warehouse  on  the  Q.  St.  Bernard, 
on  the  same  side  as  the  PI.  Jussien. 

The  Retrospective  Museum  consisted  of  a  very  interesting  ex¬ 
hibition  of  ancient  wines  and  wine-presses.  Here  were  also  representa¬ 
tions  of  a  dairy  farm  of  bygone  times,  a  bakery  with  its  old  kneading- 
trough,  a  cook-shop,  in  which  everything  reminded  one  of  some  old 
Ragueneau,  a  confectioner’s  shop  with  its  working  rooms,  a  small  ale¬ 
house  where  beer  was  sold  in  jugs,  an  arbor  in  which  the  cheapest 
French  wine  was  on  sale,  and  the  rustic  wine-press  of  a  by-gone  time. 
The  attendants  were  in  national  costumes  and  the  whole  exhibit  was 
interesting  and  animated. 

The  next  Class  (Class  37)  was  devoted  to  Appliances  and  Processes 
used  in  Agricultural  Industries.  Here  were  examples  of  agricultural 
factories  connected  with  farming,  dairies,  creameries,  and  butter  fac¬ 
tories,  cheese  dairies,  agricultural  distilleries,  and  starch  factories,  mar- 
gerine  factories,  and  those  for  the  preparation  of  agricultural  textile 
fabrics.  Hen  roosts,  dove  cots,  and  pleasant  walks,  and  appliances  for 
artificial  hatching  and  fattening  of  poultry  were  also  to  be  seen. 


PAL, ACE  OF  HORTICULTURE. 


AGRICULTURE.  287 

Passing  through  that  part  of  Class  35  (already  mentioned),  de¬ 
voted  to  plants,  etc.,  used  in  rural  cultivation,  one  came  to  Class  38 — 
Theory  of  Agriculture,  and  Agricultural  Statistics.  This  department 
of  the  Exposition  was  of  great  professional  interest.  Here  were  dis¬ 
played  studies  relating  to  soil  and  to  water  from  an  agricultural  point 
of  view.  Agrological  charts,  climatic  charts,  and  others,  were  here 
shown,  together  with  returns  of  cultivated  lands,  census  of  live  stock, 
and  the  progress  accomplished,  especially  since  1889,  in  agriculture, 
and  its  successive  changes.  Statements  of  fluctuation  in  rent,  price 
of  land,  labor,  live  stock,  crops,  and  animal  products.  Institutions  and 
societies  for  the  promotion  and  advancement  of  agriculture,  agricul¬ 
tural  experimental  stations  and  laboratories,  with  plans,  models,  organ¬ 
ization,  staff,  implements,  accounts,  work.  Agricultural  and  popular 
banks,  charitable  and  benevolent  institutions,  and  agricultural  insurance 
offices,  together  with  books,  papers,  statistics,  diagrams,  and  periodical 
publications.  Agronomical  charts  indicating  the  distribution  of  the 
agricultural  population,  the  number  of  farm  animals  and  profit  derived 
from  them;  plates  representing  the  diseases  which  afflict  agriculture, 
with  the  most  recently  devised  remedies.  There  was  also  a  cinemeta- 
graph  which  showed  life  on  a  typical  French  farm. 

Class  39 — Vegetable  Food  Products — was  also  of  essentially  pro¬ 
fessional  interest.  It  embraced  the  cereals  and  oil-giving  and  sugar- 
yielding  plants  and  their  products.  Here  were  seen  fine  exhibits  of 
wheat,  rye,  barley,  rice,  maize,  millet,  and  other  cereals  in  sheaves  or 
in  grain.  Broad  beans,  peas,  lentils,  potatoes,  beetroot,  carrots,  turnips, 
and  mangold  wurzels.  Saccharine  plants  such  as  beetroots,  sugar  cane, 
sorghum,  and  various  plants,  including  coffee  and  cocoa,  olives  and 
edible  vegetable  oils,  forage,  stored  or  in  silos,  and  fodder  for  cattle. 


14 


288 


THE  PARIS  EXPOSITION. 


The  next  Class  (Class  40)  was  devoted  to  Animal  Food  Products, 
such  as  edible  fatty  substances,  oils,  fresh  or  preserved  milk,  fresh  and 
salt  butter,  cheese,  eggs,  etc. 

On  the  left  hand  side  of  the  Palace  near  the  Gallery  of  La  Bour- 
donnais  stood  a  chalet  devoted  to  the  industries  connected  with  milk: 
the  architect  was  M.  Binte,  who  also  designed  the  monumental  porch 
of  the  Place  Concord.  On  the  ground  floor  of  the  chalet  was  the  dairy 
belonging  to  the  Cooperative  Societies  of  Charente  and  of  Poitou, 
where  butter  is  made  by  the  latest  processes,  and  also  that  of  the  cheese 
industry  of  Franche  Comte  Ain,  and  Savoy,  which  makes  Gruyere.  In 
the  front  a  milk-bar  was  set  up,  at  which  butter  could  be  tasted;  it  was 
connected  with  the  bar  on  the  floor  above  by  the  moving  staircase. 

Following  Class  40,  came  Class  41,  devoted  to  Non-edible  Agri¬ 
cultural  Products.  Here  were  exhibits  of  the  textile  plants  such  as 
cotton,  flax,  and  hemp  in  sheaves,  ramie,  textile  vegetable  fibres  of  all 
kinds.  There  were  plants  producing  oil  in  stalk  or  in  seed,  non-edible 
fats  and  oils,  and  plants  containing  tannin,  as  well  as  those  used  for 
dyeing  purposes.  Tobacco  in  stock,  in  leaf,  and  in  seed.  Hops,  plants, 
and  seeds  from  natural  or  artificial  meadows.  Raw  wool,  washed  or 
unwashed,  bristles  and  hair  of  domestic  animals,  and  feathers. 

This  section  was  rendered  very  attractive  by  the  ingenuity  of  the 
exhibitors,  who  had  not  spared  themselves  to  ensure  success.  Near 
the  entrance  one  passed  between  two  wharfs  into  a  vessel  constructed 
by  the  firm  of  Menier,  an  exact  reproduction  of  a  ship  of  the  time  of 
Louis  XV.,  with  its  rigging,  its  masts,  its  decks,  and  its  lookouts.  The 
effect  was  striking.  The  interior  was  curiously  arranged.  Down 
below,  in  the  hold,  one  got  a  glimpse  of  the  workshops  in  the  Noisiel 
factory,  a  model  chocolate  factory  in  actual  work.  Between  the  decks 
there  was  a  diorama,  also  panoramas  of  views  in  the  countries  in  which 


AGRICULTURE. 


289 


cocoa,  sugar-cane,  etc.,  are  produced;  on  the  decks  and  in  the  lookouts 
charming  saleswomen  disposed  of  the  products  of  the  firm.  On  the 
sides  of  the  vessel,  on  terra-firma,  all  kinds  of  confectionery,  cakes, 
drinks,  condiments,  stimulants,  and  spices  were  exhibited  and  might 
have  been  tasted. 

Class  42  showed  a  peculiarly  interesting  exhibit  of  useful  insects 
and  other  kindred  products,  also  destructive  insects  and  parasitic  plants. 
Here  were  also  found  systematic  and  scientifically  arranged  collections 
of  both  useful  and  destructive  insects,  bees,  silk-worms,  and  other 
bombycidae,  and  cochineal  insects.  Then  there  was  a  fine  display  of 
appliances  for  rearing  and  keeping  bees  and  silk-worms,  also  an  ex¬ 
hibition  of  honey,  wax,  and  cocoons,  together  with  appliances  and  pro¬ 
cesses  for  the  destroying  of  noxious  and  injurious  insects. 

If  anything,  the  Foreign  Sections  of  the  great  Palace  of  Archi¬ 
tecture,  were  even  more  interesting  than  those  of  France.  This  was 
particularly  true  of  the  sections  occupied  by  the  United  States  and 
Germany.  Everybody  said  that  commercial  France  had  made  a  tre¬ 
mendous  effort  to  regain  and  hold  prestige  through  her  Exposition. 
The  United  States  and  Germany  are  the  two  nations  which  have  within 
the  decade  made  such  forward  strides  toward  industrial  and  commer¬ 
cial  supremacy  that  the  older  nations,  England  and  France,  have  be¬ 
come  justly  alarmed.  There  is  no  stopping  either  of  these  two  young 
giants.  The  Exposition  of  1900  certainly  served  to  accentuate  their 
merits.  The  patience  and  thoroughness  of  Germany  have  made  its 
scientists  hold  first  position  in  the  world.  Their  inquiring  minds,  their 
habits  of  travel  and  study,  lately  their  firm  political  footing  amongst 
the  powers,  have  made  them  fit  and  apt  to  reap  the  benefits  of  centuries 
of  quiet  thought. 


290 


THE  PARIS  EXPOSITION. 


In  the  United  States  the  century  of  pioneering,  the  gradual  amal¬ 
gamation  of  varied  elements,  have  stimulated  inventive  genius,  versa¬ 
tility,  the  instantaneous  action  and  reaction  between  brain  and  brawn. 
And  so  it  came  about  that  under  our  flag,  which  waved  here  and  there 
and  everywhere  in  the  various  parts  of  the  Exposition,  work  of  a  very 
high  quality  was  shown — the  work  of  a  young  nation,  which  still  is 
regarded  with  respect,  sometimes  with  awe,  by  the  older  ones.  Every¬ 
thing  sent  on  by  the  United  States  was  extremely  practical  and  solid 
in  quality.  As  to  its  products  and  resources,  whether  in  the  showing 
of  its  gold  and  silver  mines,  or  its  fruit  and  grain,  there  was  a  bounty, 
a  largeness,  a  perfection  of  quality  about  them  that  inspired  a  confidence 
in  our  commercial  and  industrial  future,  which  can  not  even  be  shaken 
by  any  political  vagary  that  we  might  commit.  Next  century  will 
probably  be  our  century — the  great  American  rise,  beyond  the  belief, 
calculation,  hope,  of  anybody  now  living. 

At  the  entrance  of  the  great  hall  of  the  Palace,  on  the  left,  stood 
the  Swiss  Pavilion  in  which  was  represented  its  agricultural  displays. 
It  was  built  in  an  unusual  style.  The  roof  of  its  monumental  gateway 
was  covered  with  grey  and  gold  scalloped  moldings,  and  supported 
with  three  light  arches  surmounted  by  slender  turrets. 

The  galleries  of  the  ground  floor  and  first  floor — the  bays  and 
porches  of  which  were  decorated  with  richly-colored  designs — were 
divided  into  elegant  halls  separated  from  one  another  by  domed  pas¬ 
sages.  The  Swiss  Pavilion  contained  an  exhibition  both  of  the  pro¬ 
ducts  of  the  land,  and  of  all  the  industries  of  the  22  cantons. 

Groop  1 — Swiss  display  of  wines,  liquors,  etc.  The  wine-gallery 
was  richly  ornamental.  From  the  projecting  beams  of  the  ceiling  were 
suspended  enormous  bunches  of  grapes,  while  the  walls  were  adorned 


PALACES  ON  THE  SQUARE  OF  THE  INVALIDS. 


agriculture. 


m 

with  pictures  representing  different  Swiss  vineyards.  In  the  smaller 
rooms  were  exhibited  beers  and  fine  liquors,  kirch,  cognac,  etc. 

Group  2,  next  to  above-mentioned,  contained  exhibits  of  Dairy 
industries.  First  room:  a  modern  cheese-dairy,  with  improved  plant; 
next  to  it  are  all  kinds  of  exhibits  connected  with  the  milk-trade. 
Goods  manufactured  by  the  firm  of  Nestle,  of  condensed  milk  fame, 
who  produce  some  32,000,000  tins  yearly.  Another  room  was  devoted 
to  preserved  fruits,  etc.,  especially  those  of  Stadlen  and  of  Maggi. 

Group  3  was  devoted  to  models  of  the  latest  improvements  in  mill 
machinery.  At  the  end  of  this  group  were  rooms  containing  exhibits 
of  biscuits  and  sweetmeats.  Behind  was  an  agricultural  exhibition 
showing,  among  other  things,  improved  farm  apparatus.  At  the  lower 
end  of  the  hall,  Geneva  had  an  exhibition  illustrating  the  science  of 
physics. 

United  States  Group. — On  leaving  the  Swiss  Pavilion  the  United 
States  section  lay  to  the  left.  It  occupied  almost  the  whole  length  of 
the  palace,  and  was  surrounded  by  a  vast  arcaded  gallery,  similar  to 
the  market-place  at  San  Francisco.  To  the  right  and  left  of  the  prin¬ 
cipal  entrance  were  bells  of  liberty,  reproductions  of  the  bell  being 
sounded  on  the  opening  of  the  War  of  Independence.  The  large  door¬ 
way  was  ornamented  with  flat,  heavy  pylons,  and  surmounted  by  the 
American  eagle. 

The  show  cases  inside  contained  various  products  of  the  soil: 
cereals,  sugars,  salted  and  preserved  meats,  wine  from  San  Francisco 
and  Chicago,  teas  and  coffees,  and  choice  samples  of  the  various  pro¬ 
ductions  of  the  forests.  In  the  annex  on  the  right  of  the  section  was 
a  grandly  imposing  exhibition  of  improved  agricultural  implements; 
thrashing,  crushing,  and  mowing  machines,  reapers  and  binders,  plows, 
harrows,  cultivators,  and  every  species  of  improved  farm  machinery. 


294 


THE  PARIS  EXPOSITION. 


In  front  of  the  United  States  section  were  three  others:  Germany 
to  the  left,  England  in  the  middle,  and  Denmark  to  the  right.  1 

German  Section: — The  building  was  elegant,  of  one  story,  and 
consisted  of  a  series  of  arbors  in  carved  wood,  decorated  with  foliage 
and  green  vine  branches  and  grapes.  In  the  show  cases  are  exhibited 
various  German  products,  particularly  liqueurs  and  fruits,  varieties  ofi 
vegetables,  besides  flowers  and  gardening  tools. 

English  Section: — This  section  contained  an  exhibition  of  grains, 
fruits,  vegetables,  hops  and  farinaceous  and  oil-giving  plants.  Stout 
and  pale  ales,  whisky,  rye-brandy,  English  liquors,  preserved  meats  and 
Cheshire  cheese  were  also  displayed. 

The  Danish  Pavilion: — This  display  was  in  a  very  elegant  building. 
It  contained  an  important  exhibition  of  cereals  and  grains.  Flours 
were  shown  by  the  Copenhagen  Steam-mills  Company,  Agricultural 
Implements.  Specimens  of  improved  plant  for  use  on  farms  and  dairies 
were  shown. 

In  the  middle  of  the  palace  was  the  Portuguese  Section,  in  which 
stood  a  Portuguese  restaurant.  To  the  side  were  cases  containing  fresh 
and  preserved  fruits,  oranges,  lemons,  figs,  etc.,  as  well  as  port  wine 
and  Madeira. 

In  the  other  half  of  the  Hall,  quite  close  to  the  Salle  des  Fetes,  was 
the  Russian  Section.  Here  were  show  cases  in  massive  wood,  carved 
and  gilt,  surmounted  by  turrets  with  white  and  yellow  tiles.  Sugars, 
teas,  coffees,  vegetables  and  Russian  wines  were  among  the  exhibits. 

Next  to  Russia,  in  the  corner  of  the  Hall,  on  the  same  side  as  the 
Avenue  Bosquet,  was  the  Swedish  Pavilion  of  carved  wood,  brightly 
colored  and  ornamented  with  some  unpretentious  sculpture.  Its  ex¬ 
hibits  included  examples  of  the  Alfa  Laval  Milk  Separator.  A  small 
dairy  with  special  plant  for  the  making  of  butter,  shown  by  the  “Ra- 


AGRICULTURE. 


295 


diator”  Company,  different  agricultural  machines,  apparatus  for  pre¬ 
paring  Swedish  punch  and  chocolate,  and  for  preparing  and  preserving 
anchovies  and  fish  of  all  kinds.  After  Sweden  came  Italy,  with  exhibits 
of  varieties  of  wheat  and  of  maize,  cheeses,  preserved  fruits,  macaronis, 
and  other  pastes,  wines,  such  as  Marsala,  Zucco,  Lacrima-Christi,  etc. 

The  Hungarian  Section,  which  followed,  was  placed  in  a  pavilion 
charmingly  decorated  with  foliage  of  the  vine  and  grapes  in  high  relief. 
Various  Hungarian  products  were  displayed.  Models  showing  the  ar¬ 
rangement  of  schools  of  agriculture  and  industrial  chemistry,  school 
machinery  and  furniture.  Along  the  walls  were  paintings  representing 
different  mining  and  agricultural  regions  of  the  country.  There  was 
also  a  section  devoted  to  Hungarian  wines,  including  Tokay. 

Next  to  Hungary  came  the  Austrian  show  cases,  in  which  were 
exhibited  various  products  of  Austria,  sent  by  the  Agricultural  Com¬ 
mittees  of  Prague,  Lemberg,  and  Vienna,  different  kinds  of  apples, 
beetroot  sugar,  malt,  vegetables  from  Silesia,  Austrian  wines  from 
Bohemia,  Lower  Austria,  Melnick,  Voss  Cauer,  etc. 

Coming  back  towards  the  entrance  door  of  the  hall  one  found  the 
large  Spanish  Pavilion,  Moorish  in  style,  built  like  a  mosque  and  en¬ 
riched  with  mosaics  and  arabesque  paintings.  The  principal  entrance 
on  the  left  was  a  large  castellated  gateway  with  a  pointed  arch,  sur¬ 
mounted  by  an  elegant  cupola.  It  was  a  reproduction  of  the  archway 
at  Grenada,  known  as  the  Wine-Gate. 

There  was  here  an  exhibition  of  food-stuffs,  grains,  and  seedlings, 
olive  oils,  fruits,  oranges,  lemons,  Spanish  wines,  Marquis  de  Merito, 
sherry,  Andalusian  wines,  etc. 

The  chief  exhibit  of  Norway  was  a  large  case  of  preserves,  one  of 
its  greatest  industries.  There  were  also  samples  of  the  well-known  Nor¬ 
wegian  beer.  Bulgaria  exhibited  wines  and  beers  from  the  Royal 


THE  PARIS  EXPOSITION. 


brewery.  The  Agricultural  Exhibition  closed  with  exhibits  from  Hol¬ 
land,  Roumania,  Japan  and  Turkey.  In  the  Avenue  de  Suffren  was  to 
be  seen  the  Swedish  “Alfa  Laval”  cream  separator,  and  the  model  of  a 
German  baker. 


Horticulture  and  Arborculture. 


NE  of  the  most  agreeable  charms  of  the  Exposition  of  1900 
was  the  extent  to  which  it  was  flower-decorated  and  tree- 
embowered.  One  walked  beneath  interminable  and  gra¬ 
cious  shade,  or,  at  least,  was  never  out  of  sight  of  cheerful 
foliage.  Trees  were  everywhere,  and  they  seemed  to  stand 
for  a  Parisian  ideal  of  beauty  and  comfort.  One  of  the  earliest  forms  of 
worship  was  that  of  the  tree,  and  it  almost  seemed  as  if  Paris  was  still 
addicted  to  a  nature-worship  in  which  trees  stood  as  conspicuous  em¬ 
blems.  Rather  than  use  the  axe  in  one  of  the  buildings  dedicated  to 
American  exhibits,  a  row  of  living  trees  formed  the  columns  of  the  aisle, 
and,  carrying  their  foliage  beyond  the  roof,  offered  a  pleasant  protection 
from  the  summer  sun. 

It  is  almost  an  impossible  undertaking  to  describe  that,  group 
(Group  VIII)  of  the  Exposition  which  embraced  the  subject  of  Horti¬ 
culture  and  Arborculture.  It  was  the  most  ubiquitous  and  pervasive 
group  of  the  Exposition.  Indeed,  it  was  not  inaptly  described  by  the 
Frenchman  who,  either  to  conceal  his  ignorance  of  a  situation,  to  pique 
further  curiosity  or  to  indulge  a  just  pride,  answered  the  query  of  a  vis¬ 
itor  to  the  Exposition,  as  to  the  location  of  the  Horticultural  and  Arbor- 
cultural  group,  with,  “Look  all  about  you.”  If  the  group,  as  a  distinct 
arrangement  and  imposing  part  of  the  Exposition,  were  not  really  all 
about  and  always  around  one,  nevertheless,  one  seldom  passed  beyond 
the  delightful  effects  of  flower,  shrub  and  tree.  They  were  the  glory  of 
the  esplanades  and  avenues,  the  invitation  of  boulevards  and  streets,  the 
charm  of  plazas  and  walks,  the  smile  of  vistas  and  nooks.  The  genius 
of  the  landscape  gardener  was  at  its  best  when  it  met  that  of  the  arborcul- 

297 


THE  PARIS  EXPOSITION. 


-$8 

turist  in  the  resolve  to  make  the  embellishment  of  flower,  shrub  and  tree 
foliage  one  of  the  most  marked  features  of  the  Exposition,  and  a  solace 
and  wonder  to  all  comers.  One  might  have  reveled  for  an  entire  season 
amid  the  bright  color  and  inviting  shade  of  the  Exposition,  and  dreamed 
that  all  the  delights  of  a  visit  to  the  Horticultural  and  Arborcultural 
group  had  voluntarily  come  to  him. 

But  one  could  not  visit  the  Exposition  to  dream,  to  surfeit  the 
smell  with  the  odor  of  flowers  nor  the  sight  with  their  variegated  colors, 
to  enjoy  the  balm  of  shady  trees.  A  sense  of  duty  forbade.  There  was 
an  object  in  view,  business  ahead,  a  pocket  to  consult,  a  time  for  home 
returning.  One  could  never  get  away  from  the  M.  Picard  arrangement 
of  exhibits.  It  was  so  intelligent,  so  comprehensive,  so  helpful,  that  one 
wished  to  sail  by  no  other  chart.  Let  us  see  what  it  said  of  the  subject 
of  Horticulture  and  Arborculture.  They  constituted  Group  VIII,  of 
the  grand  groups  of  the  Exposition.  Let  us  see  further  how  he  has 
classified  this  group.  Begin  to  number  the  classes  where  the  numbers 
of  the  classes  of  the  previous  group  left  off,  that  is  at  43.  Then  the 
classes  ran  thus : 

Class  43.  Appliances  and  Processes  used  in  Horticulture  and  Ar¬ 
borculture — Gardening  Implements,  Tools,  etc. 

Class  44.  Kitchen  and  Garden  Plants — Vegetables. 

Class  45.  Fruit  Trees  and  Fruit. 

Class  46.  Trees,  Shrubs,  Ornamental  Plants  and  Flowers. 

Class  47.  Greenhouse  and  Hothouse  Plants. 

Class  48.  Horticultural  and  Nursery  Seeds,  Bulbs,  Roots  and 
General  Stock. 

One  has  already,  and  perhaps  many  times,  threaded  a  way  through 
the  beautiful  grounds  of  the  Place  de  la  Concorde  (Place  of  Concord)  to 
the  majestic  Monumental  Gate  that  constituted  the  main  entrance  to  the 
Exposition  Grounds.  Now  the  journey  again  lies  thither  and  with 


HORTICULTURE  AND  ARBORCULTURE. 


299 


little  bemoan,  for  the  commanding  proportions  and  architectural  ele¬ 
gance  of  this  Monumental  Gate  never  palls  the  sight.  One  viewed  it 
rapturously  before  passing  through  it  to  visit  the  gorgeous  Palaces  of 
Fine  Arts  within  the  grounds  of  the  Champs  Elysees  (Elysian  Camps), 
and  standing  face  to  face  on  either  side  of  the  newly  constructed  Avenue 
Nicholas  II,  which  runs  through  the  grounds  from  the  magnificent  Ave¬ 
nue  Champs  Elysees  to  the  new  monumental  Bridge  Alexander  III. 
The  view  repeated,  with  perhaps  a  higher  appreciation  of  its  art,  entry 
was  had  through  its  spacious  portals  into  the  ornamentally  platted, 
flower-perfumed  and  tree-embowered  grounds  of  the  Elysian  Camps. 

Arrived  there,  and  beholding  the  magnificent  stretches  to  the  left 
between  the  Palaces  of  Fine  Arts  and  the  Quay  Conference,  one  would 
suspect  that  the  scene  was  too  ideal  to  be  claimed  as  a  prosaic  part  of 
the  Exposition.  But  fairy-like  as  it  was,  it  was  compelled  to  yield  to  the 
M.  Picard  classification,  and  to  constitute  two  of  the  classes  (45,  46)  of 
the  Exposition  proper.  The  first  of  these  (Class  45)  laid  parallel  with 
the  quay  Conference  and  abutted  on  it.  It  extended  from  the  Monu¬ 
mental  Gate  to  the  Bridge  Alexander  III,  and  then  beyond  to  the  Bridge 
of  Invalids,  and  it  was  the  home  of  all  sorts  of  species  and  varieties  of 
fruit  and  fruit  trees.  There  were  fruit  trees  in  the  open  as  well  as  those 
trained  against  walls,  and  many  magnificent  specimens  of  the  products 
of  cultivation  on  a  large  scale,  such  as  orchards,  orangeries,  etc. 
There  were  also  cider  apples,  pears,  cherries,  plums,  oranges,  lemons,  al¬ 
monds  and  the  nut  varieties ;  in  fact  a  full  and  gorgeous  display  of  lus¬ 
cious  fruits.  Nor  was  garden  cultivation  neglected.  Here  were  spec¬ 
imens  of  the  garden  grown  in  the  open  as  well  as  against  walls,  and 
many  garden  fruits  of  quite  new  species  and  variety. 

All  this  was  to  the  left  of  the  open  vista  or  pathway  extending  west¬ 
ward  from  the  Monumental  Gate  and  across  the  Avenue  Nicholas 
II  to  Avenue  Invalids.  To  the  right  lay  the  stretch  embracing  Class 


THE  PARIS  EXPOSITION. 


300 

46.  Here  were  found  ornamental  standard  trees,  grafted  or  not,  all 
sorts  of  park  plants  and  a  great  variety  of  garden  plants;  herbaceous 
plants  in  the  open  ground,  blended  beds  of  flowers,  baskets  of  flowers, 
and  even  nosegays  of  natural  flowers.  A  smaller  section  of  Class  46 
was  found  in  an  angle  of  the  Grand  Palace  of  Fine  Arts,  on  its  north 
side,  between  the  right  wing  and  rear  annex.  It  was  a  beautiful  exhibi¬ 
tion  of  landscape  gardening  and  of  tree,  shrub  and  flower  effects. 

Passing  now  the  Bridge  Invalids,  going  west,  and  keeping  to  the 
north  bank  of  the  Seine,  one  found  a  great  part  of  the  stretch  of  the 
quay,  from  Bridge  Invalids  to  Bridge  Alma,  occupied  by  the  real  head 
and  centre  of  the  Horticultural  and  Arboricultural  Group  (VIII). 
Plere  were  situated  the  Palaces  and  annexes  which  housed  the  Classes 
of  the  Group,  not  located  in  the  open  and  elsewhere.  The  situation 
was  directly  across  the  river  from  the  Street  of  Nations,  and  the  Palaces 
faced  the  Pavilions  of  Nations,  and  extended  back  from  the  river  to 
the  Cours  la  Reine  (Street  or  Course  of  the  Queen). 

The  Palaces  of  Horticulture  and  Arboriculture  were  two  in  num¬ 
ber.  The  first  one  reached,  that  is,  the  easternmost  one,  was  devoted 
entirely  to  French  exhibits  of  Horticulture  and  Arboriculture.  It  was 
an  immense  greenhouse,  constructed  of  iron  and  glass,  some  275  feet 
long,  105  feet  wide,  and  70  feet  high.  In  its  centre  was  a  capacious 
nave,  with  large  side  aisles,  curving  out  at  intervals,  and  thus  forming 
a  series  of  bow  windows.  It  contained  a  profusion  of  palms,  anthu- 
riums,  etc.,  and  in  the  centre  a  perfect  carpet  of  flowers  formed  by  beds 
cut  into  various  patterns.  These  beds  were  refilled  constantly,  as  com¬ 
petitions  were  held  there  during  the  period  of  the  Exposition. 

The  second  Palace  was  further  west  upon  the  bank  of  the  Seine, 
and  was  of  the  same  size  and  architecture  as  the  first.  It  was  reserved 
entirely  for  foreign  Horticultural  and  Arboricultural  exhibits,  and  was 


THE  DAHOMEYAN  CABIN. 


HINDOO  MERCHANTS  AND  EAST  INDIAN  WAITRESSES. 

(British-Indian  Tea  Parlor,  Trocadero.) 


HORTICULTURE  AND  ARBORICULTURE. 


3°  3 


divided  into  as  many  sections  as  there  were  foreign  nations  exhibiting. 
By  the  side  of  the  palm  trees  of  Monaca  stood  the  splendid  exhibition 
of  American  fruits  of  all  kinds,  the  plans  and  photographs  from  Ger¬ 
many  and  Hungary,  and  the  surprising  orchids  from  Mexico. 

The  two  Palaces  were  separated  by  a  garden  with  geometrically 
laid  out  beds,  in  whose  centre  was  erected  the  Aquarium  of  Paris.  This 
fine  building  was  very  different  from  the  Aquarium  before  constructed 
in  Paris,  and  also  from  the  stereotyped  styles  found  among  other  na¬ 
tions.  Instead  of  giving  only  a  slight  glimpse  into  the  life  of  rivers 
and  streams,  one  found  there  the  most  intimate  secrets  of  the  deepest 
ocean — a  fanciful  world  which  realized  for  the  observer  the  weird  im¬ 
agination  of  such  writers  as  Jules  Verne. 

Behind  the  two  large  Palaces  stood  a  smaller  one  with  a  blank 
wall  on  the  Cours  la  Reine  side,  and  with  windows  facing  the  Seine. 
It  was  devoted  to  Classes  43  and  48  of  the  Group.  Having  now  seen 
the  location  and  construction  of  the  buildings  specially  erected  for  the 
Horticultural  and  Arboricultural  displays,  and  remembering  that  two 
Classes  (45  and  46)  of  the  Group,  located  elsewhere,  have  already  been 
described,  attention  must  be  given  to  the  classes  occupying  the  Palaces. 

Class  43,  the  first  of  Group  XIII.,  and  the  one  devoted  to  Appli¬ 
ances  and  Processes  used  in  Horticulture  and  Arboriculture,  was 
located  partly  in  the  French  Palace  and  partly  in  the  rear  building 
described  in  the  last  paragraph.  It  was  readily  one  of  the  largest  and 
most  instructive  in  the  Horticultural  and  Arboricultural  Group.  It 
showed  that  great  attention  had  been  paid  to  gathering  together  and 
neatly  arranging  a  representative  collection  of  implements  that  are  in 
daily  use  by  gardeners  and  nurserymen.  There  were  spades  of  all  de¬ 
scriptions,  pick-axes,  hoes,  many  ingenious  and  effective  lawn-mowers, 
and  garden-rollers  and  cultivators.  There  were  tools  for  pruning  and 


304 


THE  PARIS  EXPOSITION. 


grafting,  and  all  sorts  of  devices  for  gathering  produce,  and  packing 
it  in  such  a  way  that  it  will  with  the  least  possible  damage  bear  the  ills 
of  transportation.  Water  apparatus  for  gardens  formed  of  itself  an 
entertaining  exhibit,  and  even  props  for  plants  and  overburdened  fruit 
trees  were  there  shown.  Ornamental  gardening  took  up  considerable 
space.  Vases,  pots,  chairs  and  other  kinds  of  garden  seats  and  beau¬ 
tiful  fountains  were  shown  among  the  apparatus  and  objects  that  go  to 
make  a  glorious  garden.  A  larger  class  of  exhibits  was  that  of  the 
glasshouses  and  their  accessories;  the  mats  that  are  needed  where 
frosts  are  keen,  and  the  heating  devices.  Here  too  were  room  and 
window  conservatories,  beautiful  and  compact  aquariums  for  aquatic 
plants  and  the  plans,  drawings,  models,  books,  pictures,  etc.,  that  have 
been  issued  of  late  to  assist  in  garden  architecture.  The  immense  gal¬ 
lery  which  ran  throughout  the  building  had  its  upper  walls  hung  with 
plans,  water-color  sketches  and  perspective  drawings. 

Class  44  was  entirely  given  up  to  displays  of  Kitchen  Garden 
Plants.  This  included  the  coarser  variety  of  vegetables  that  are  grown 
in  the  kitchen  gardens  as  well  as  market  gardens.  Here  were  potatoes, 
cabbages,  carrots,  long  radishes,  artichokes,  mushrooms  and  cress,  all 
specimens  of  the  freshest  sort.  The  ingenuity  and  fecundity  of  the 
French  gardener  is  well  known;  and  it  is  conceded  that  French  epi¬ 
curean  taste  exacts  a  vegetable  variety  practically  without  limit;  so 
that  if  one  were  to  undertake  to  compress  a  description  of  kitchen 
garden  products,  seen  in  Class  43,  into  a  limited  space,  he  could  best 
do  it  by  saying  that  all  was  there  which  French  skill  could  concoct  or 
French  palate  demand. 

Class  47  was  devoted  to  Greenhouse  and  Hothouse  Plants,  and 
one  came  upon  many  delicate  specimens  of  these  from  all  parts  of  the 
world.  Examples  of  the  cultivation  in  use  in  different  countries  for 


HORTICULTURE  AND  ARBORICULTURE.  3<>5 

utility  or  ornamental  purposes  were  given,  and  here  were  shown  the 
processes  by  which  vegetables  and  fruits  are  forced,  and  the  results  that 
are  obtained  by  this  artificial  method  of  growing.  Of  greenhouse  and 
hothouse  plants  there  was  a  splendid  exhibit,  especially  of  those  for 
ornamental  purposes. 

Class  48,  the  last  Class  of  the  Group,  was  devoted  to  Horticultural 
and  Nursery  Seeds  and  Stock.  It  embraces  a  comprehensive  collec¬ 
tion  of  vegetable  seeds,  nursery  stock  of  trees,  many  of  them  grafted, 
and  some  of  them  not.  The  seeds  were  arranged  in  vessels  standing 
upon  stages.  Above  the  stages  were  handsome  photographs  of  veget¬ 
able  and  flower  seeds.  Part  of  this  Class,  not  suitable  for  exhibition 
under  cover,  was  shown  in  the  Bois  de  Vincennes  (Vincennes  Woods) 
by  the  side  of  the  lake.  It  consisted  of  young  trees  from  one  to  four 
years  old,  intended  for  replenishing  the  woods  and  forests.  It  also  con¬ 
tained  a  collection  of  cuttings,  showing  plants  at  different  stages  of 
growth.  There  were  temporary  exhibitions,  consisting  of  three  com¬ 
petitions,  of  roots,  bulbs  and  plants  ready  for  sale,  were  held  during 
the  period  of  the  Exposition. 

Scattered  all  over  the  marvellous  Exposition  were  found  choice 
little  corners  devoted  to  plants,  flowers  and  trees,  and  one  specially 
interested  in  these,  by  keeping  his  eye  open,  could  not  fail  to  come 
upon  many  delightful  groups  of  them.  Although  these  scattered  sec¬ 
tions  were  scarcely  of  sufficient  importance  to  be  enumerated  in  detail, 
the  Management  of  this  group  of  the  Exhibition  certainly  went  whole¬ 
heartedly  into  the  matter,  and  no  one  could  have  cause  to  complain  of 
the  show,  nor  of  the  space  that  was  allocated  to  Horticulture  and  Ar¬ 
boriculture.  Indeed,  it  was  truly  wonderful  to  observe  the  collection 
that  had  been  gathered  together  from  the  four  corners  of  the  earth, 


THE  PA'RIS  EXPOSITION. 


3  6 

and  there  made  to  flourish  and  to  bloom,  as  though  the  plants  were 
indigenous  instead  of  being  for  the  most  part  exotic. 

The  principal  nations  having  Horticultural  and  Arboricultural 
displays  in  the  palace  devoted  to  foreigners,  were  the  United  States, 
Netherlands,  Russia,  Mexico,  Germany,  Austria,  Belgium,  Hungary, 
Italy,  Great  Britain,  Japan  and  Monaco* 


KAFFIR  TROPHIES— TRANSVAAL  NATIONAL  PAVILION. 


CANADIAN  WHEAT— BRITISH  COLONIAL  BUILDING. 


Forestry,  Hunting,  Fishing,  Wild  Harvestry. 


HE  Pont  D’  Iena  (Bridge  of  Jena)  crosses  the  Seine  from 
the  Park  of  the  Trocadero  to  that  part  of  the  Champ 
de  Mars  (Camp  of  Mars)  occupied  by  the  Eiffel  Tower. 
It  forms  part  of  the  beautiful  vista  which  begins  at  the 
terraces  of  the  Trocadero,  extends  under  the  arches  of 
the  Eiffel  Tower  and  through  the  grounds  of  the  Camp  of  Mars,  until 
it  is  ended  by  the  glittering  facade  of  the  Palace  of  Electricity.  One 
never  tired  of  this  vista,  whether  viewed  from  the  Trocadero  terraces, 
or  from  the  closer  point  of  the  Bridge  Iena. 

At  the  southern  end  of  the  Bridge  of  Jena,  and  stretching  westward 
of  it  along  the  left  bank  of  the  Seine,  as  far  as  to  the  Avenue  Suffren,  lay 
the  spaces  and  pavilions  dedicated  to  the  ninth  grand  group  of  the  Ex¬ 
position — Group  IX,  or  that  of  Forestry,  Hunting,  Fishing  and  the 
Gathering  of  Wild  Crops.  This  was  certainly  a  choice  portion  of  the 
marvellous  world  show.  It  was  striking  and  surprising  how  the  nations 
had  here  entered  into  generous  rivalry  through  the  number  and  variety 
of  their  contributions,  and  especially  the  nations  of  Anglo-Saxon  origin, 
with  whom  the  chase  has  ever  been  a  matter  of  study  and  enjoyment. 

According  to  the  M.  Picard  arrangement,  Group  IX  fell  into  the 
following  classification,  the  numbers  of  the  respective  classes  beginning 
where  those  of  Group  VIII  left  off : 

Class  49.  Appliances  and  Processes  used  in  Forestry. 

Class  50.  Products  of  the  Cultivation  of  Forests  and  of  Forest  In¬ 
dustries. 

Class  51.  Hunting  and  Sporting  Equipments. 

Class  52.  Products  of  Hunting  and  Shooting. 

309 


*5 


3To 


THE  PARIS  EXPOSITION. 


Class  53.  Fishing  Appliances,  Tackle  and  Products — Fish  Culture. 

Class  54.  Appliances  and  Instruments  used  for  Gathering  Wild 
Crops. 

The  main  pavilion  of  this  group  was  an  imposing  structure,  without 
definite  architectural  lines,  yet  richly  ornamented.  Over  the  entrance 
stood  two  magnificent  bas-reliefs,  one  “A  Grand  Hunt,”  by  Baffier,  the 
other  “A  Combat  of  Stags,”  by  Garden  Under  the  arch  was  a  decora¬ 
tive  painting  by  Aubertin,  representing  “Fishing.”  Two  handsome 
pavilions  faced  the  river  front,  and  also  two  large  and  effective  statues 
representing  “Hunting”  and  “Fishing.” 

Immediately  on  entering,  one  was  in  the  midst  of  Class  49,  or  the 
first  class  of  the  Group — Appliances  and  Processes  used  in  Forestry — - 
a  class  which,  by  the  way,  should  have  invoked  the  special  attention  of  all 
American  visitors,  for  no  people  on  earth  have  been  so  prodigal  of  their 
forest  wealth,  and  so  neglectful  of  reproducing  the  forest  growths  they 
have  destroyed  as  those  of  the  United  States  and  Canada.  Class  49 
showed  plans  explanatory  of  the  laying  out  of  woods  designed  to  meet, 
and  come  under,  laws  regulating  forestry ;  methods  of  perpetuating  the 
supplies  of  timber,  and  of  securing  its  economic  consumption  all  over  the 
world ;  also  handsome  photographs  of  the  many  varieties  of  timber 
trees. 

Then  there  was  a  wonderful  collection  of  seeds  gathered  from  all 
countries  where  trees  flourish,  which,  of  course,  meant  every  habitable 
region  of  the  earth.  Next  to  the  seeds  were  shown  specimens  of  both 
indigenous  and  exotic  forest  products ;  and  it  is  proper  to  say  here,  that 
in  respect  to  such  products  French  ingenuity  and  persistency  have  in¬ 
sured  for  their  country  a  truly  wonderful  display.  One  then  came  upon 
the  innumerable  and  curious  implements  of  special  use  for  the  gathering, 
preparation  and  preservation  of  forest  seeds.  Close  by  were  plans  of 
drying  houses  and  numerous  specimens  of  the  implements  used  in  for- 


FORESTRY,  HUNTING,  FISHING,  ETC. 


3ii 

est-tree  nurseries,  also  many  ingenious  appliances  for  general  tree  and 
forest  cultivation. 

Facing  Class  49  on  the  left,  came  Class  50 — Products  of  the  Cul¬ 
tivation  of  Forests  and  of  Forest  Industries.  Around  the  different  gal¬ 
leries  in  the  centre  of  each  exhibit  of  this  class  were  painted  panels  which 
represented  the  history  of  timber.  Here  were  seen,  in  large  substantial 
samples,  specimens  of  all  kinds  of  forest  products — wood  for  cabinet 
work,  for  construction  purposes,  for  fire  wood,  for  staves  and  shingles, 
for  cask  wood,  for  lath  wood,  and  wood  for  dyeing  purposes ;  also  the 
cork  trees,  the  bark  for  textile  purposes,  the  tanning,  and  fragrant  and 
resinous  substances.  After  these  appeared  the  products  of  forest  indus¬ 
tries,  turnery,  basket  work,  rush  and  grass  manufacture,  together  with 
numerous  and  picturesque  displays  of  wooden  shoes,  wood  wool,  corks, 
dried  woods,  charcoal,  raw  potash,  and  in  fact  practically  everything  that 
is  made  of  these  species  of  wood.  A  most  interesting  feature  exempli- 
fied  the  different  processes  to  which  wood  is  subjected  from  the  time  it  is 
cut  down  in  the  forest  until  its  transformation  into  boats,  carriages,  fur¬ 
niture,  or  whatever  object  may  be  had  in  view.  One  could  not  help 
thinking  that  the  comparatively  new  art  of  forestry  was  given  a  healthy 
and  deserved  impetus  by  such  large  and  interesting  displays. 

A  foresters’  paradise  was  found  in  Class  51 — Hunting  and  Sporting 
Equipments.  This  was  two  little  worlds,  one  of  manufacturing  applh 
1  ances,  the  other  of  their  products.  In  the  first  were  found  the  special 
machinery  and  tools  employed  in  the  manufacture  of  fire-arms,  such  as 
gun-shaping  machines,  special  lathes  for  instantaneous  reproductions, 
accurate  machines  for  finishing  the  internal  bore  of  gun-barrels,  boring 
machines  of  every  conceivable  design,  rifling  machines,  special  machines 
for  making  the  wooden  stocks  of  guns,  milling  machines,  machines  for 
making  gun  parts  in  metal,  machines  for  polishing  and  straightening 
tempered  parts.  Following  these  came  the  infinite  variety  of  machinery 


THE  PARIS  EXPOSITION. 


3*2 

and  tools  for  making  cartridges  and  ammunition. 

In  the  second  of  the  little  worlds  were  found  the  products  of  the  first 
in  the  form  of  finished  weapons — sporting  guns  of  all  kinds  by  the 
most  famous  makers,  accompanied  by  the  different  kinds  of  cartridges, 
pellets  and  ammunition,  including  abundant  samples  of  black  and  smoke¬ 
less  powders.  In  a  middle  gallery  was  the  retrospective,  or  historic, 
exhibition,  presenting  in  glass  cases,  copies  of  ancient  weapons  show¬ 
ing  the  gradual  development  from  the  day  of  the  sling  {o  this  day  of 
repeating  rifles  and  cordite  powder. 

There  was  an  excellent  exhibition  of  crossbows,  of  guns,  rifles  and 
pistols,  and  accessories  appertaining  to  every  kind  of  small  arms.  Here 
was  seen  the  solid  bullet  and  the  much  debated  hollow  explosive  bul¬ 
lets,  bullets  that  spread  after  touching  their  object,  in  short,  every  sort 
of  leaden  pellet  that  Tcills.  Then  there  were  other  accessories  of  shoot¬ 
ing,  as  the  percussion  caps,  priming,  cartridges,  etc.  One  very  fine 
collection  of  ancient  arms  in  the  retrospective  gallery  formed  a  part  of 
the  Imperial  Museum  at  the  Hermitage  in  St.  Petersburg,  Russia.  In 
another  glass  case  of  the  retrospective  gallery  was  an  interesting  ex¬ 
hibit  of  sword,  carbine  and  pistols  from  the  manufactory  of  Versailles, 
which  were  presented,  in  1814,  by  the  city  of  Paris  to  General  Jacken, 
who  was  governor  of  the  city  during  the  occupation  of  the  allies. 
Other  antique  exhibits  were  the  sword  presented  by  Napoleon  I.  to 
Alexander  I.  at  Tilsit;  the  weapons  of  Prince  Eugene  of  Beauharnais; 
the  sword  in  chased  gold,  and  the  scabbard  of  tortoise-shell  inlaid  with 
golden  bees  and  acorns,  which  Napoleon  wore  at  Arcole  and-Rivoli; 
the  case  of  weapons  belonging  to  the  Duke  of  Chartres,  and  brought 
from  Lepage,  in  1839,  by  the  Duke  of  Orleans;  an  interesting  history 
of  the  arquebuse,  from  the  lintock,  flint  and  steel  period  down  to  the 
present  time. 


CAMBODIAN  ORCHESTRA. 


Forestry,  hunting,  fishing,  wild  harvestry. 

Other  sections  of  the  Class  contained  interesting  exhibits  devoted 
to  hunting  and  sporting  equipments,  those  used  in  schools  for  the 
study  of  fencing-art,  and  the  training  of  hunting  dogs. 

Class  52  of  the  Group  embraced  Products  of  Hunting  and  Shoot¬ 
ing.  It  was  upon  the  first  floor  (second  story)  of  the  pavilion.  Here 
were  found  the  products  of  hunting  and  shooting.  There  were  draw¬ 
ings  and  collections  of  land  and  amphibious  animals,  birds  and  their 
eggs.  These  products  were  carefully  and  accurately  prepared.  Then 
there  were  the  skins  and  furs  of  beasts  in  the  rough;  following  these, 
dressed  skins  for  furriers,  bristles,  hair  and  down,  undressed  feathers 
and  birds’  skins,  horn,  ivory,  bone,  shell,  musk,  civet,  and  all  that. 

The  feather  trade,  so  important  in  Paris,  was  well  represented, 
though  it  appeared  a  little  meagre  because  the  principal  applications  of 
the  feather  had  their  place,  in  the  fashions  and  costumes,  in  the  Palace 
of  Yarns,  Cloths  and  Clothing  on  the  Champ-de-Mars.  Here  were 
marvelous  ostrich  plumes  of  an  incredible  length  and  lightness,  plumes 
of  the  marabout,  sea-gull,  swan,  turkey,  etc.;  plumes  of  the  vulture  for 
feather-brooms,  down  of  eider,  duck  and  chicken,  for  quilts  and  bed¬ 
ding;  the  quills  of  the  goose-feathers,  with  the  imitations  of  pork 
bristles  for  brushes,  and  the  toothpicks  that  are  made  from  them. 

The  dressed  furs  were  of  great  beauty.  From  the  rabbit  to  the 
blue  fox  and  the  ermine,  all  were  superbly  brilliant  after  passing 
through  the  hands  of  the  furrier,  and  some  of  the  garments  exhibited 
were  worth  a  fortune. 

The  greatest  curiosity  of  this  corner  of  the  pavilion  was  a  portrait 
of  M.  Loubet,  entirely  of  furs;  the  head  of  white  down,  the  hair  and 
beard  of  chinchilla  tail  stitched  with  a  needle,  the  shirt  and  cravat  of 
ermine,  the  coat  and  vest  of  Alaskan  otter,  the  lower  part  of  the  bust 
in  natural  Alaskan  otter. 


THE  PAMS  EXPOSITION. 


On  the  first  floor  was  an  exhibit  of  the  perfumes  of  animal  origin, 
showing  how  they  are  obtained  from  the  musk  and  civet,  with  stuffed 
specimens  of  these  animals  from  various  countries. 

In  the  Italian  section  two  strange  engines  excited  the  public 
curiosity,  and  the  most  unlikely  suppositions  were  put  forth  as  to  their 
use.  They  were,  in  fact,  cannon,  but  of  a  special  kind,  destined  to  bom¬ 
bard  the  sky.  They  were  invented  in  1896  by  a  vine  grower  of  Styrie, 
and  have  been  much  employed  since  in  Austria  and  Italy  with  great 
success  against  hail  storms.  When  black,  menacing  clouds  appear  over 
the  crops,  the  cannon  are  charged  with  powder  and  fired.  The  dis¬ 
turbance  of  the  air  is  sufficient  to  prevent  the  formation  of  hail  storms 
in  the  aerial  laboratory. 

Russia  had  a  beautiful  exhibit  of  furs  and  birds  for  fashion.  Ger¬ 
many  especially  showed  traps.  On  the  trunk  of  enormous  trees  in  the 
Canadian  Section  appeared  a  caribou  and  an  elk  with  monstrous  horns. 
In  this  department,  Hungary  took  the  lead  in  an  exhibition  of  all  the 
birds  and  mammiferous  animals  of  the  country,  mounted  in  natural 
attitudes  before  a  sort  of  panorama  of  rocks,  little  brooks  and  rustic 
bridge;  and  a  splendid  collection  of  old  hunting  arms. 

To  be  sure,  in  a  land  containing  so  many  patient  fishermen  as 
France,  it  was  only  to  be  expected  that  the  Piscatorial  Department  in 
this  mighty  Exhibition  would  be  thoroughly  up  to  the  mark.  To 
make  it  so,  France  had  indeed  hauled  her  net  over  the  world,  and 
dipped  her  hook  into  the  waters  of  every  quarter  of  the  globe,  the 
result  being  a  thorough  representative  exhibition,  and  one  which  no 
enthusiastic  fisherman  could  fail  to  study  with  interest. 

This  Class  was  Class  53  of  the  Group,  or  the  class  devoted  to 
Fishing  Appliances,  Tackle  and  Products.  It  was  found  on  the  ground 
floor  of  the  pavilion.  The  first  section  of  the  class  was  set  aside  for 


forestry,  hunting,  fishing,  wild  harvestry.  s»? 

fishing  appliances,  tackle  and  products,  and  fish  culture  was  also  in¬ 
cluded.  To  begin  with,  here  were  to  be  found  floating  appliances  ap¬ 
pertaining  to  fishing,  nets,  tackle,  and  implements  for  sea  fishing,  nets, 
traps,  tackle  or  appliances  for  fresh-water  fishing. 

Section  2  of  this  class  contained  instruction  on  marine  fish  culture, 
Crustacea,  molluscs,  starfish,  and  other  radiata.  Next  fresh-water  fish 
culture  was  gone  thoroughly  into,  and  plans  were  given  of  the  buildings 
required  for  the  hatching  out  of  fish  and  raising  them  to  an  age  when 
they  are  strong  enough  and  knowing  enough  to  swim  out  into  the 
waters  haunted  by  the  terrible  ogres  that  lie  in  wait  to  devour  little 
fishes.  All  the  appliances  and  processes  used  in  pisciculture,  ingenious 
fish  ladders  which  enable  the  finny  tribe  to  surmount  high  falls  were 
here  shown,  and  even  the  cultivation  of  leeches  was  explained  and  ex¬ 
pounded. 

There  was  a  representative  number  of  different  sorts  of  aquariums, 
and  a  marvellous  display  of  drawings  and  collections  of  fishes,  cetacea, 
Crustacea,  mollusca,  etc.  This  class  ended  with  exhibitions  of  pearls, 
shells,  mother  of  pearl',  coral,  sponges,  tortoise  shell,  whalebone,  sper¬ 
maceti,  ambergris,  fish  oils  and  fats. 

Then  one  came  to  the  last  class  in  this  interesting  group,  that 
class  (54)  which  dealt  with  Appliances  and  Implements  used  for  gather¬ 
ing  Wild  Crops.  In  the  first  section  of  this  class,  one  found  appliances 
and  implements  used  for  gathering  thei  spontaneous  products  of  culti¬ 
vated  soils.  Many  uncivilized  peoples  that  inhabit  the  continents  of  the 
earth  have  for  generations  depended  for  existence  on  the  grains  and 
fruit  that  grow  without  cultivation,  and  to  this  day  much  of  the  com¬ 
merce  of  the  world  is  taken  up  with  gathering  and  consuming  crops 
that  no  man  has  sown,  but  that  all  men  endeavor  to  reap. 


THE  PAfcIS  exposition; 


3lg 

Here  were  mushrooms  and  truffles.  Here  were  also  scores  of 
varieties  of  edible  wild  fruits  and  edible  plants  and  leaves  and  bark  and 
roots,  and  the  uncultivated  fruit  used  by  herbalists,  pharmaceutical 
chemists,  dyers,  manufacturers  of  paper,  oils,  or  other  substances. 
India-rubber  had  a  large  section  to  itself,  and  gums  and  resins  came  in 
at  the  tail  end  to  make  this  group  an  all-comprising  one. 

The  Pavilion  of  Forestry,  Hunting  and  Fishing  and  its  contents, 
as  seen  by  another  visitor  to  the  Exhibition,  is  thus  described: 

The  Pavilion  of  Forestry  was  situated  on  the  left  bank  of  the  Seine 
below  the  Jena  Bridge.  It  occupied  considerable  space,  but  not  too 
much  for  the  enormous  amount  of  interesting  material  that  was  there 
presented  to  the  public.  The  part  of  the  building  facing  the  Champ- 
de-Mars  was  reserved  for  French  exhibits;  the  foreign  sections  were 
Collected  in  a  long  narrow  building,  the  extremity  of  which  met  the 
prolongation  of  the  Avenue  Suffren. 

In  the  French  part,  the  different  categories,  forests,  hunting,  fish¬ 
ing  and  wild  crops,  were  separated,  but  they  were  reunited  in  each  for¬ 
eign  section. 

The  principal  entrance,  on  a  level  with  the  Champ-de-Mars,  gave 
access  to  a  grand  hall  reserved  by  the  Administration  of  Waters  and 
Forests.  It  was  the  official  French  section  and  was  superintended  by 
the  forest  guards,  who  were  permitted  in  rotation  to  spend  ten  days 
each  at  the  Exposition. 

There  were  disposed,  in  well-arranged  little  groups,  all  the  animals 
of  the  French  forests;  a  stag  and  roe,  a  hare,  a  badger,  a  ferret,  a  wild 
cat,  some  rabbits,  squirrels,  etc.  At  the  end  of  the  hall  were  the  fauna 
of  ponds  and  rivers;  otter,  water-rat,  frogs,  king- fishers,  aquatic 
birds,  etc. 


FORESTRY,  HUNTING,  FISHING,  WILD  HARVESTRY.  3*9 

The  principal  motive  was  a  forest  house  ornamented  with  natural 
heads  of  deer  and  other  guests  of  the  woods.  A  large  statue  in  wood, 
the  Wood  Cutter,  stood  in  front  of  the  threshold.  At  the  foot  was  a 
group  of  animals;  two  hunting  dogs,  a  fox  and  its  family,  a  wild-boar,  a 
bear,  a  chamois,  some  birds  of  prey,  etc.  Little  firs  surrounding  the 
group  and  building,  gave  the  whole  a  rustic  appearance.  It  was  alto¬ 
gether  of  local  color.  The  strong  odor  of  resinous  essences  completed 
the  illusion. 

The  forest  house  contained  two  excellent  dioramas  showing  the 
operations  of  replanting  forests  and  defense  against  land  slides.  The 
nearest  to  the  principal  entrance  showed  a  mountainous  slope,  com¬ 
pletely  bare  except  at  the  base;  in  the  upper  part  the  equilibrium  was 
So  unstable  that  no  forest  vegetation  could  develop,  at  least  in  the 
actual  conditions. 

In  the  second  diorama  the  work  of  man,  aided  by  time,  had  tri¬ 
umphed.  Walls  had  been  constructed  which  retained  the  earth,  plant¬ 
ings  had  been  made,  and  vigorous  trees  commenced  to  cover  the  sides 
of  the  mountain  with  their  shade.  On  the  side  of  the  forest  house  and 
on  the  opposite  wall  were  six  panels  showing  the  products  derived  from 
various  kinds  of  wood,  the  group  arranged  on  each  panel  representing 
the  materials  which  permit  the  same  kind  of  work.  Everywhere, 
among  the  panels,  were  very  beautiful  photographs  taken  by  forest 
agents,  showing  trees  in  summer  and  winter,  mountains  in  process  of 
restoration,  etc.  Here  and  there  were  reproductions  in  relief  of  the 
work  of  damming  torrents,  some  statistical  documents,  sections  of 
trunks  showing  the  layers  of  wood,  etc. 

A  door  framed  in  branches  still  covered  with  their  bark  gave  en¬ 
trance  to  the  gallery  reserved  for  class  50:  Products  of  Forest  In¬ 
dustries. 


326 


fttfi  PA-MS  EXPOSIfiOM. 


It  contained  the  products  of  French  exhibition,  and  like  all  the 
rest  of  the  palace,  was  very  interesting.  It  was  arranged  in  a  marvel¬ 
lous  fashion  and  made  a  profitable  study.  Beside  sticks  and  resinous 
logs  in  their  successive  stages  of  preparation,  products  direct  from  the 
forest,  which  require  as  the  work  of  man,  only  sawing  and  putting  in 
bundles,  were  the  different  varieties  of  charcoal:  of  oak,  of  beech  for 
furnaces,  of  black  alder  for  gunpowder,  pulverized  charcoal  for  dental 
powder.  One  exhibit  showed  in  reduced  size,  a  furnace  in  the  forest 
for  making  charcoal.  Beside  this  were  boxes  and  cases  of  all  kinds, 
oak  laths,  canes,  varnished  wood  for  furniture,  etc. 

Then  came  the  cork-tree  and  its  multiplied  applications;  stoppers, 
life-preservers,  pavements,  bricks,  etc.,  cork  decorated  and  painted, 
ornamented  with  flowers,  the  barks  for  the  tannery,  the  carpets  in 
vegetable  fibres,  the  cooperage,  the  basket  trade,  luxurious  chairs, 
trunks,  hampers,  garden  chairs,  and  a  veritable  wicker  house  io  feet 
long. 

Pyramids  of  bottles  contained  the  products  derived  from  wood  by 
distillation;  oil,  alcohol,  tar,  etc.  The  perfection  of  modern  mechanism 
was  evident  in  the  exhibition  of  sawing.  Some  sections  of  very  large 
trees  were  exhibited  in  an  annex  on  the  Champ-de-Mars. 

The  galleries  of  the  foreign  section  were  on  the  level  of  the  Champ- 
de-Mars  and  ran  around  a  large  hall,  the  floor  of  which  was  on  a  level 
with  the  quay.  The  exhibit  of  Japan  was  most  successful.  Photo¬ 
graphs  of  forests,  and  varieties  of  wood,  insects  hurtful  to  each  species, 
herbs  and  fruits  were  arranged  for  the  instruction  of  the  visitor.  An 
admirable  collection  of  bamboos  presented  a  surprising  variety  of  tints. 

The  United  States,  whose  exhibit  was  at  the  end  of  the  gallery  with 
an  out-door  annex,  made  a  creditable  showing  with  displays  of  plants, 
beautiful  pictures  on  glass  in  front  of  the  windows,  and  a  sample  of 


FORESTRY,  HtMfl NG,  F IStttN-G,  WILD  MARVESfRY.  3** 

different  woods.  Spain  sent  some  gums  and  a  fortress  in  cork.  Sweden 
was  well  represented  by  a  variety  of  forest  products  and  photographs; 
and  best  of  all,  two  dioramas  that  attracted  very  favorable  attention. 
One  represented  a  saw-mill,  the  other  conducted  one  into  a  charming 
pine  forest.  The  illusion  was  perfect.  In  the  hall  of  the  ground-floor, 
Russia  had  a  remarkable  exhibit  of  the  Forest  of  the  Caucasus.  Hun¬ 
gary  was  the  pearl  of  the  Forest  Pavilion.  Her  exhibit  was  arranged 
with  marvelous  taste,  all  in  the  decorations  of  forest  woods. 


CUBAN  EXPOSITION  IN  THE  TROCADERO  BUILDING. 


STREET  AND  CASCADE  IN  THE  SWISS  VILLAGE. 


Foods  and  Drinks. 


HE  scene  of  exhibits  of  this  interesting  group — Group  X 
of  the  M.  Picard  plan — was  the  Palace  of  Agriculture. 
This  was  the  southernmost,  or  rear,  Palace  of  the  Champ 
de  Mars  (Camp  of  Mars)  and  immediately  behind  the 


Palace  of  Electricity.  It  occupied  the  whole  of  the 
width  of  the  Champ  de  Mars,  except  that  central  portion  where  stood 
the  Salle  des  Fetes  (Plall  of  Fetes),  and  its  southern  front  faced  the  Ave¬ 
nue  Motte  Picquet,  while  the  front  of  the  left,  or  east,  wing  faced  the 
Avenue  Bourdonnais,  and  that  of  the  right,  or  west,  wing  faced  the 
avenue  Suffren.  As  already  stated  under  the  article  Agriculture,  this 
Palace  was  of  colossal  proportions,  without  any  very  special  architectural 
effects.  In  its  internal  arrangement  it  was  the  perfect  show-house  for 
the  two  grand  groups — Group  VII,  Agriculture,  and  Group  X,  Foods 
and  Drinks — which  found  a  home  amid  spacious  halls  and  sections. 

And  in  the  respect  that  it  was  the  home  of  two  groups  so  near  akin, 
the  ingenuity  and  comprehensiveness  of  the  M.  Picard  arrangement 
fully  appeared.  What  so  natural  as  that  the  food  product,  such  as  the 
baked  loaf,  should  be  found  in  juxta-position  with  the  agricultural  pro¬ 
duct,  such  as  the  wheat  or  corn,  out  of  which  it  was  made.  And  so, 
wines  as  a  food  product  were  best  seen  in  contiguity  with  objects  exem¬ 
plifying  vine  culture.  This  proximity  of  associate  displays  enabled  the 
visitor  to  trace  with  ease  and  instructiveness  the  full  history  of  a  product 
from  the  field  to  the  table.  Therefore  it  was  that  often  by  the  mere 
crossing  of  a  hall-way,  or  by  a  very  few  steps,  the  visitor  could  pass  from 
a  section,  or  sub-division,  of  the  Agricultural  Group  to  one  belonging 
to  the  FoAd  and  Drink  Group. 


325 


326 


THE  PARIS  EXPOSITION. 


The  Grand  Group  of  Foods  and  Drinks — Group  X  of  the  Exposi¬ 
tion — fell  into  the  following  classification,  the  numbers  of  the  classes 
beginning  where  those  of  the  prior  group — Group  IX — left  off : 


Class  55.  Appliances  and  Processes  used  in  the  Manufacture  of 
Food  Products. 

Class  56.  Farinaceous  Products  and  their  Derivatives. 

Class  57.  Bread  and  Pastry. 

Class  58.  Preserved  Meats,  Fish,  Vegetables  and  Fruit. 

Class  59.  Sugar  and  Confectionery — Condiments  and  Relishes. 
Class  60.  Wines  and  Wine  Brandies. 

Class  61.  Syrups  and  Liquors — Various  Spirits — Commercial  Al¬ 
cohols. 

Class  62.  Various  Beverages. 


It  is  needless  to  say  that  the  nations  were  out  in  their  strength  in 
the  displays  belonging  to  this  group.  There  seemed  to  be  something 
peculiarly  inviting  about  it  for  competition.  Perhaps  it  was  because 
France  had  long  held  the  supremacy  in  the  creation  and  manipulation  of 
food  products.  Her  cookery  was  regarded  as  triumphant  and  her  wines 
as  unsurpassed.  What  pleased  a  French  taste  was  regarded  as  accept¬ 
able  to  all  the  world,  or,  if  not,  then  the  dissatisfied  were  ranked  as 
among  those  of  vulgar  taste,  and  as  heathenish  in  their  epicurean  no¬ 
tions.  It  was  pleasing  to  an  American  to  note  that  his  food  products 
came  to  the  front  in  pleasing  variety  and  in  forms  to  persuade  the  world 
that  he  had  a  dainty  palate  and  the  wherewithal  to  gratify  it.  This  was 
especially  so  as  to  the  conversion  of  the  flour  of  Indian  corn  into  a  desir¬ 
able  table  essential,  an  enterprise  which  was  comparatively  new  in  the 
old  world,  but  which  bade  fair  under  American  genius  to  be  successful. 
And  it  was  equally  so  as  to  the  competition  offered  by  America  in  wines. 
Those  of  California  vied  with  the  ancient  and  established  brands  of  not 
only  France,  but  of  Spain,  Portugal  and  all  the  Rhine  countries. 


FOODS  AND  DRINKS. 


327 

It  depended  on  the  direction  in  which  the  left  wing  of  the  Agricul¬ 
tural  Palace  was  approached — it  must  be  remembered  that  the  left  wing 
was  essentially  French  and  the  right  wing  foreign — as  to  what  class  of 
the  Group  of  Food  and  Drinks  should  become  a  first  study.  One  who 
had  just  sought  a  little  rest  in  the  cosiness  of  the  central  Hall  of  Fetes, 
or  who  had  there  interviewed  a  friend  or  written  a  letter  home,  would 
naturally  seek  entrance  to  the  Group  by  descending  the  broad  and  easy 
staircase  to  the  class  of  the  group  at  its  bottom.  This  would  be  Class  60 
— Wines  and  Brandies — in  juxta-position  with  Class  36  (already  de¬ 
scribed)  of  Group  VII — Appliances  and  Processes  used  in  Vine  Culture. 

But  Class  60  was  not  only  spacious  in  size  but  made  up  of  many 
minor  sections  and  structures.  For  instance,  right  at  the  foot  of  the 
staircase,  just  mentioned,  was  the  Champagne  section  of  the  Class. 
Here  was  a  graceful  pavilion  devoted  to  a  special  show  of  Moet  and 
Chandon  champagnes.  Near  by  were  smaller  erections,  also  devoted  to 
special  exhibits.  And  then,  in  what  might  be  called  a  corner  of  the 
Hall  of  Fetes, was  the  monumental  pavilion  of  the  Syndicate  of  the  Cham¬ 
pagne  Trade.  This  pavilion  ranked  as  a  palace  of  the  Louis  XV  style, 
and  was  richly  decorated  with  paintings  and  sculpture.  Its  lower 
arcade  was  a  cellar  such  as  could  only  be  met  with  in  Champagne.  Be¬ 
neath  was  a  vaulted  cellar  designed  to  convey  an  idea  of  the  plant  required 
for  producing  sparkling  wines.  Here  workmen  were  engaged  in  finish¬ 
ing  the  last  operations  to  which  a  bottle  must  be  subjected  before  arriv¬ 
ing  at  the  stage  in  which  it  is  fit  for  familiar  use.  These  operations  con¬ 
sisted  in  removing  from  the  cork  the  deposits  generated  in  the  bottle, 
when  the  wine  is  changed  for  effervescence,  and  the  sweetening  and 
corking  processes  which  followed.  Close  by  was  the  packing  depart¬ 
ment  where  3000  bottles  were  daily  labelled,  the  necks  covered  with  tin- 
foil,  or  else  metal  capped,  and  then  packed  in  cases  or  baskets  ready  for 
shipment.  In  this  palace  of  the  Syndicate  was  a  superb  gallery  contain- 


3^8 


THE  PARIS  EXPOSITION. 


in g  accessory  industries,  that  is,  all  the  principal  industries  owing  their 
existence  to  the  champagne  trade.  Among  these  was  the  manufacture 
of  champagne  bottles,  corks,  candied  cane  sugar  for  sweetening  the 
wine,  ingenious  tools  used  in  the  making  of  labels,  caps,  tin  foil  and  wire. 

But  it  is  hardly  fair  to  oneself  to  be  thus  enticed  from  the  regular 
order  of  things  by  their  proximity.  However  much  one  tried  to  “go  it 
alone”  in  the  Exposition,  the  experience  of  a  day,  or  even  an  hour,  was 
pretty  sure  to  leave  the  impression  that  M;  Picard  had  planned  and 
arranged  to  such  effect  as  that  it  was  loss  of  time  and  dire  discomfiture 
for  a  stranger  to  undertake  to  inspire  new  routes  and  classifications. 
Therefore  attention  must  be  directed  to  the  first  class  of  the  Group — 
Class  55,  or  that  devoted  to  Appliances  and  Processes  used  in  the 
Manufacture  of  Food  Products. 

This  Class,  in  so  far  as  it  was  made  up  of  French  exhibits,  found 
a  home  on  the  ground  floor  of  the  Palace  of  Agriculture,  and  on  the 
right  of  the  entrance  from  the  Avenue  Bourdounais.  Part  of  the  Class, 
however,  was  to  be  found  in  a  large  room  on  the  Billy  quay.  This 
part  was  composed  of  large  machines,  such  as  required  steam  for  their 
operation,  and  whose  size  and  weight  demanded  special  accommoda- 
tion.  That  part  of  the  Class  exhibited  in  the  Palace  showed  on  entry 
a  great  number  of  flour-mills,  and  factories  for  the  production  of  glu¬ 
cose  and  starch.  Following,  came  Italian  paste  factories,  bakeries,  and 
the  mechanical  appliances  for  kneading  and  baking,  biscuit  factories, 
pastry  works,  and  the  manufacture  and  preservation  of  ice,  also  the 
appliances  and  methods  used  for  preserving  fresh  meat,  game,  and  fish. 
Following  this  came  the  works  for  canning  meat,  fish,  vegetables,  and 
fruit.  Sugar  manufactories  and  refineries,  chocolate,  cocoa,  and  con¬ 
fectionery  works.  Preparation  of  ice  and  iced  drinks,  the  coffee  berry, 
and  coffee  roasting.  There  were  vinegar  works,  commercial  distilleries, 


LOOKING  ACROSS  THE  BRIDGE  OF  ALEXANDER  III 


FOODS  AND  DRINKS. 


33* 


breweries,  aerated  water  manufactories,  and  various  industries  for  the 
production  of  food  and  food  stuffs. 

Entering  the  area  devoted  to  Class  56 — Farinaceous  Products  and 
their  Derivatives — one  found  numerous  samples  of  flour  made  from 
cereals,  grain  without  husks  and  groats,  potato  starch,  rice,  flour,  lentil, 
and  broad  bean  flour,  and  gluten.  Here  too  were  tapioca,  sago,  arrow- 
root,  and  various  starches,  Italian  pastes,  semolina,  vermicelli,  maca¬ 
roni,  infants’  food,  and  home-made  pastes. 

The  next  Class  (57)  was  partly  in  the  Palace  and  partly  on  the 
Billy  quay,  with  Class  55.  That  part  in  the  Palace  showed  Bread  and 
Pastry.  Here  are  various  breads,  with  or  without  yeast,  fancy  bread, 
and  bread  in  moulds.  Compressed  bread  for  travellers  and  for  military 
campaigns,  sea  biscuits,  pastry,  etc.,  various  kinds  special  to  each 
country,  ginger  bread,  and  cakes  for  keeping.  That  part  of  the  Class 
which  was  relegated  to  the  Billy  quay,  for  lack  of  space  and  through 
fear  of  smoke,  was  housed  in  the  large  pavilion  appropriated  to  Baking 
and  Confectionery,  and  included  ovens,  bake-houses,  kneading-troughs, 
compressed  bread  for  travelling  and  for  military  campaigns,  etc.,  ship- 
biscuits,  and  all  kinds  of  household  bread  and  pastry.  These  products 
were  exhibited  in  show  cases,  and  could  be  tasted.  Several  great  manu¬ 
facturers  had  a  pavilion  to  themselves,  where  they  held  a  joint  exhibi¬ 
tion.  M.  Lamoureux  Mauriol  showed  an  improved  bakery  in  two 
stories,  with  ovens  and  degenerators.  M.  Datis  showed  a  specimen  of 
the  machinery  used  for  the  making  of  crumbless  bread.  M.  Lefevre- 
sters,  and  oysters.  Vegetables  preserved  by  various  methods,  and 
Utile  made  biscuits  in  full  view  of  the  public.  The  celebrated  firm  of 
Pernot  also  sent  an  interesting  exhibit. 

Exhibits  of  Preserved  Meat,  Fish,  Vegetables  and  Fruit  made  up 
the  next  class — Class  58.  There  were  shown  meats  preserved  by  freez- 
16 


33* 


THE  PARIS  EXPOSITION. 


ing,  or  by  any  other  method,  meat  and  soup  tablets,  meat  extracts, 
pork  butchers’  meat,  frozen  fish,  salt  fish,  and  fish  preserved  in  barrels 
as  well  as  in  oils.  Preserved  tunny,  sardines,  anchovies,  preserved  lob- 
dried  and  preserved  plums,  figs,  raisins,  dates,  and  fruit  preserved  with¬ 
out  sugar. 

Sugar  and  Confectionery;  Condiments  and  Relishes  composed  the 
displays  in  Class  59.  First  were  seen  sugar  for  household  and  other 
purposes,  glucose,  chocolate,  sugar  almonds,  bonbons,  fondants, 
nougat  angelica,  aniseed,  preserves  and  jellies,  fruit  comfits,  and  fruits 
preserved  in  brandy.  Then  came  coffee,  tea,  and  aromatic  beverages, 
chicory,  and  sweet  acorn  coffee,  etc.,  occupying  extensive  space.  Fol¬ 
lowing  these  came  vinegar,  table  salt,  spices  such  as  pepper,  cinnamon, 
allspice,  cayenne  pepper,  and  so  forth,  and  then  mixed  condiments  and 
relishes,  mustard,  curries,  and  all  kinds  of  sauces  were  to  be  seen. 

Class  60  has  already  been  described  in  this  article,  in  so  far  as  it 
was  contained  in  the  Champagne  pavilion.  In  addition,  two  large 
pavilions  near  the  Hall  of  Fetes  were  devoted  to  displays  of  brewing 
and  cider-making.  The  French  brewery  trade  had  an  interesting  ex¬ 
hibit,  consisting  of  the  process  of  making  an  excellent  beer  which  is 
rapidly  entering  into  competition  with  Bavaria  and  Munich  lager  beer. 
The  whole  pavilion  was  a  masterpiece  of  skill  and  good  taste. 

The  cider  business  is  a  national  French  industry  which  has  been 
greatly  improved  during  the  last  ten  years.  The  brandies  made  from 
cider  compare  favorably  with  those  more  famous  spirits,  twenty  or 
thirty  years  old,  from  Charente,  Burgundy  or  Armagnac.  The  build¬ 
ing  was  a  rather  curious  one,  with  great  stacks  of  copper  stills,  a  large 
curved  staircase,  and  decorative  panel  representing  a  laboratory,  with 
retorts,  syphons  and  other  implements  for  making  cider. 


FOODS  AND  DRINKS. 


333 


Syrups  and  Liquors;  various  Spirits;  Commercial  Alcohols;  made 
up  the  exhibits  of  Class  61.  It  included  syrups  and  sweet  liquors, 
anisette,  curacao,  cassis,  and  chartreuse,  absinthe,  bitters,  vermouth, 
and  byrrh.  Then  there  were  the  commercial  alcohols,  alcohol  made 
from  beetroot,  molasses,  and  potatoes,  gin,  rum,  kirsch,  etc. 

The  next,  and  last,  Class  (62)  of  the  Group  contained  exhibits  of 
various  Beverages.  They  included  cider  and  perry,  beer  and  other 
baverages  made  from  cereals,  fermented  drinks  of  all  kinds,  and  aerated 
waters. 

The  foreign  exhibits  embraced  in  this  group  of  Foods  and  Drinks 
were  very  complete  and  interesting.  Those  of  the  United  States  were 
particularly  full  and  varied,  a  novel  feature  being  the  American  Corn 
Kitchen,  in  which  the  conversion  of  corn  meal  in  various  forms  of  baked 
food  was  shown  by  skilled  bakers.  The  display  of  California  wines  was 
fine,  and  a  surprise  to  foreign  wine-growers. 

Apropos  to  the  subject  of  Foods  and  Drinks,  was  the  food  supply 
of  Paris  during  the  extraordinary  drain  on  her.  resources  while  the 
Exposition  was  going  on.  Her  markets  were  a  study  and  a  revela¬ 
tion — a  display  almost  equal  in  novelty  and  interest  to  that  installed 
in  the  great  Palace  in  the  Champ-de-Mars.  When  it  comes  to  feeding 
millions,  Paris  is  right  in  her  element.  No  other  civilized  city  knows 
as  much  about  handling  food  stuffs  and  catering  to  wholesale  hunger 
as  she.  Says  Emily  Holt  in  the  Globe-Democrat: 

“Her  markets  are  the  best  arranged  in  Europe,  her  restaurants 
have  no  parallel  for  numbers  and  finely  disciplined  kitchens,  and  if  any 
one  has  the  time  and  the  influence  to  get  into  a  tiny  office  off  the 
Street  Louvre,  where  the  managers  of  the  markets  receive  reports  on 
every  pound  of  butter  and  every  pod  of  peas  that  comes  into  the  city 


334 


THE  PARIS  EXPOSITION. 


limits,  a  realization  may  be  had  of  how  well  the  Parisian  pantry  is  pre¬ 
pared  for  the  entertainment  of  the  strangers  within  her  gates. 

“In  the  year  1890,  says  M.  Commissaire,  of  the  huge  Central 
market,  Paris  ate  200,000  tons  of  butchers’  meat,  30,500  tons  of  game 
and  poultry,  28,700  tons  of  fish,  19,700  tons  of  butter,  and  490,600,000 
eggs.  Multiply  each  one  of  these  items  by  three  and  you  will  get  the 
amount  of  fish,  eggs,  and  butter  that  are  now  estimated  as  necessary  to 
supply  the  private  houses,  hotels  and  restaurants  in  1900. 

“Strange  to  relate,  however,  there  is  no  especial  effort  being  ex¬ 
pended  or  difficulty  anticipated  in  laying  hands  on  all  this  extra  amount 
of  food  stuff,  nor  are  any  extra  preparations  being  made  for  its  distri¬ 
bution  over  the  town.  In  ordinary  seasons  France  herself  very  nearly 
supplies  all  that  the  Parisian  markets  demand.  The  best  beef,  mutton, 
butter  and  fish  eaten  in  Paris  are  strictly  home  production.  Normandy 
sends  the  juicy  roasts  and  exquisite  fresh  cheese  and  other  dairy  pro¬ 
ducts,  and  not  a  beet  or  bean  is  bought  outside  the  limits  of  the  French 
market  gardens.  In  behalf  of  the  Exposition  crowds,  however,  extra 
supplies  of  eggs  have  been  contracted  for  in  Hungary  and  Western 
Russia,  the  Danish  dairies  have  been  levied  on,  Germany  is  going  to 
sell  a  lot  of  her  river  and  North  Sea  fish,  while  tons  upon  tons  of  beef 
have  been  ordered  from  the  United  States  and  South  America. 

“As  for  the  green  food  and  poultry,  France  can  fulfill  that  contract 
herself,  and  to  see  the  admirable  way  in  which  the  car  loads  upon  car 
loads  of  meat  and  vegetables  are  handled  it  is  necessary  to  go  to  the 
Halles  Centrales  or  the  vast  Central  market  of  Paris,  to  which  the  pre¬ 
ponderance  of  the  daily  supplies  are  brought  and  whence  raw  materials 
for  millions  of  meals  are  distributed  to  all  parts  of  the  city. 

“By  a  system  perfected  through  many  years  the  food  is  all  brought 
exactly  to  this  centre  of  the  city,  and  it  is  done  between  1  and  6  o’clock 


AN  ANNAM  TEA  STORE  AND  VENDORS. 


POOBS  ANB  BRINKS. 


in  the  morning.  At  12  o’clock  every  night  the  gates  leading  into  the 
city  itself  are  blocked  by  countless  hundreds  of  market  carts,  long, 
narrow  vans  heaped  as  high  as  hay  wagons  with  green  vegetables 
picked  after  the  dew  has  fallen  in  the  afternoon,  and  every  head  of 
lettuce  or  bunch  of  radishes  so  carefully  cut,  pulled,  bunched  and 
packed  in  the  wagons  that  the  appearance  of  many  is  as  brilliant, 
dainty  and  attractive  as  a  cart  load  of  flowers.  The  wagon  drivers  in 
their  sabots  and  blue  blouses,  and  the  big  Normandy  draught  horses, 
harnessed  tandem,  wait  in  lines  extending  sometimes  for  miles  down 
the  turn  pikes,  for  the  customs  officers  must  appraise  the  freight  and 
receive  the  tolls  and  duties  before  they  will  pass  them  through  on  their 
way  to  the  Central  market. 

“So  soon  as  the  gates  are  open  the  carters  drive  direct  to  the  big 
market,  and  in  this  way  by  daylight  the  product  of  all  the  market  gar¬ 
dens  in  the  environs  of  Paris  is  brought  into  the  city.  From  the  near¬ 
by  dairies  and  poultry  farms  it  comes  in  the  same  way,  while  all  the 
fish,  meat  and  vegetables  from  the  distant  provinces  are  forwarded  by 
rail  and  the  freight  cars  are  run  from  the  station  on  to  the  tram  tracks 
directly  into  the  main  market  of  the  city  and  are  unloaded  directly  on 
to  the  stalls.  By  these  devices  the  food  stuff,  handled  but  once,  arrives 
almost  as  fresh  as  the  moment  is  was  taken  from  the  garden  or  dairy, 
and  the  cost  of  its  transportation  is  thus  greatly  minimized. 

“By  4.30  o’clock  the  market  women  are  on  hand,  the  stalls  are 
prepared  and  the  entire  food  supply  for  one  day  is  awaiting  its  pur¬ 
chasers.  It  is  ready  in  the  most  apple-pie  form,  too,  for  if  there  is  a 
people  on  the  face  of  the  earth  who  know  how  to  make  the  uncooked 
materials  of  a  meal  attractive  it  is  the  French.  Even  the  stalls  where 
the  shell  fish,  oysters,  periwinkles  and  snails  are  sold  would  encourage 
the  most  finikin  appetite,  while  the  displays  of  beef  are  as  carefully  and 


St*  THE  PARIS  EXPOSITION, 

artistically  arranged  as  the  costliest  bric-a-brac  in  a  museum  or  a  fine 
flower  shop.  Where  the  huge  carcasses  of  beeves  are  hung  whole  at 
the  four  corners  of  a  stall,  crisply  starched  white  linen  napkins  are  tied 
over  the  lower  half  of  the  body  to  intercept  any  rising  dust;  piles  upon 
piles  of  trimmed  chops  are  ranged  in  pyramids  with  cut  white  paper 
cuffs  on  every  clean  scraped  bone,  legs  of  mutton  are  hung  in  folded 
shells  of  white  paper,  and  the  full  breasted  fowls,  fattened,  picked  and 
prepared  with  the  highest  art,  wear  their  ugly  heads  tucked  out  of  sight 
beneath  them. 

“With  such  cleverness  do  the  producers  of  all  these  supplies  calculate 
the  exact  amount  Paris  will  consume  in  twenty-four  hours,  that  when 
the  marketing  hours  are  over,  the  sewers  of  the  markets  flushed  and 
the  paved  ways  and  stalls  washed  down  with  disinfectant,  hardly  a  let¬ 
tuce  leaf  or  potato  peal  is  left  to  cast  into  the  great  garbage  wagons. 
Little  enough  remains  to  go  into  cold  storage,  and  the  greater  quantity 
of  poultry,  fruit  and  garden  truck  is  but  two  hours  from  the  farms 
when  exposed  in  the  stalls  in  the  morning.  For  this  reason  it  is  safe  to 
predict  that  during  the  Exposition  season  the  food  of  Paris  will  be 
daily  as  fresh  and  abundant  as  though  any  other  summer,  despite  the 
crowds  that  will  arrive  to  prey  upon  her  larder  and  to  see  this  larder 
in  all  its  perfection  a  visit  must  be  made  to  Halles  Centrales  (Central 
Markets)  about  5  o’clock  in  the  morning.  This  is  the  one  very  large 
stationary  market  of  Paris.  There  are  dozens  of  others,  but  they  be¬ 
long  to  the  excellently  planned  system  of  movable  markets  that  are 
never  located  two  days  in  succession  in  the  same  place,  and  this  is  done 
for  the  special  accommodation  of  the  householder  living  at  too  great 
a  distance  from  the  Central  Market. 

“Down  at  the  Halles  Centrales,  save  at  the  meat  market,  the 
women  rule  absolutely  and  preside  over  the  most  admirably  arranged 


FOODS  AND  DRINKS. 


$59 

food  depot  in  the  world.  No  other  city,  European  or  American,  shows 
anything  to  compare  with  that  four  acres  of  space,  paved  with  stone, 
roofed  loftily  with  glass  and  iron,  perfectly  drained  and  kept  as  fault¬ 
lessly  clean  as  Paris’  historical  Halles.  From  dawn  until  late  in  the 
afternoon  the  business  of  the  market  is  in  active  swing.  At  5  o’clock 
in  the  morning  the  restaurant  buyers  are  there;  later  come  buyers  for 
hotels;  later  still  the  proprietors  of  boarding  houses,  and  then  servants 
of  private  families.  Not  very  far  from  the  market  is  the  Bourse,  or 
Parisian  Stock  Exchange,  which  hardly  does  a  bigger  or  noisier  busi¬ 
ness  than  the  hundreds  of  feminine  proprietors  of  the  stalls,  particularly 
under  the  fish  shed,  where  a  purchaser  can  see  his  lobster,  shrimps, 
cray  fish,  trout  or  carp  swimming  merrily  in  a  tank,  if  he  pleased,  to 
make  sure  of  its  freshness,  or  choose  it,  prepared  for  the  fire,  from  the 
marble  slabs  over  which  all  day  the  water  rushes  in  a  cold,  clear  stream. 

“The  noise  and  the  keen  bargaining  are  due  to  the  women  in  the 
stalls,  the  red-faced,  white-capped,  high-voiced  dames  de  la  halle,  who 
are  as  much  a  part  of  the  sights  of  Paris  herself  as  the  churches  and 
museums,  and  who  for  three  centuries  have  played  the  part  of  chorus 
to  some  of  the  most  vivid  events  in  Parisian  history. 

“They  are  powerful,  red-faced,  large-lunged  women,  and  now 
justify  their  occasional  interference  in  the  public  affairs  of  the  city  on 
the  ground  that  they  constitute  one  of  the  oldest  corporations  of  Paris. 
They  are  never  recruited  at  haphazard,  and  in  many  instances  theii 
stalls  have  descended  by  will  from  mother  to  daughter  for  two  or  three 
centuries.  The  sons  do  not  inherit,  because  men  are  persona  non  grata 
in  the  market.  Petticoats  rule  and  swish  about  authoritatively  in  every 
nook  of  the  vast  sheds.  The  heiresses  to  these  valuable  stalls  get  their 
training  for  business  under  the  maternal  eye,  and  begin  life  in  very 
coquettish  guise,  with  their  apple-red  cheeks,  sharp  blue  or  black  eyes, 


THE  PARIS  EXPOSITION. 


smooth,  high-rolled  pompadour  head-dress  and  skirts  tucked  up  care¬ 
fully  out  of  the  damp,  and  to  display  slender  ankles,  rising  from  feet 
shod  in  sabots,  often  with  perilously  tall  Louis  Quinz  heels. 

“Directly  such  a  market  girl  marries  she  settles  down  to  business 
in  her  mother’s  stall,  the  coquetry  vanishes  under  a  hard  commercial 
manner,  the  down  on  her  lip  often  develops  into  a  sternly  bristling 
moustache  and  her  one  aim  in  life  is  to  hoard  her  earnings.  With  very 
few  exceptions  these  brisk  business  women  contrive  to  lay  by  com¬ 
fortable  sums,  in  spite  of  the  rent  and  tolls  they  have  to  pay  the  city, 
and  few  of  them  leave  off  working  until  actually  too  decrepit  to  make 
correct  change.  Living  in  the  open  air  wielding  their  huge  fish  knives 
and  bawling  their  wares  these  women  are  marvelously  independent  in 
speech  and  action,  and  if  nowadays  nobody  reminds  them  of  what  their 
mothers  did  in  the  revolutionary  days  everybody  takes  a  pride  in  point¬ 
ing  out  the  stall  of  the  direct  descendant  of  the  famous  Mme.  Ladon- 
cette,  who  left  her  fish  one  day,  and,  calling  on  Henry  IV.,  frankly  in¬ 
sisted  that  he  must  pay  greater  respect  to  the  wifely  pride  of  his  legiti¬ 
mate  spouse,  Marie  de  Medici.  Henry  showed  rank  ingratitude  for 
this  well-meant  advice  by  fining  the  market  woman  and  forbidding  her 
to  sell  at  her  stall  for  six  months,  whereupon  the  case  was  laid  before 
the  Queen,  who,  naturally,  took  the  fish  wife’s  side  and  checkmated 
the  angry  King  by  making  Mme.  Ladoncette  purveyor  of  fish  to  the 
court. 

“If  Paris  is  preparing  to  import  ample  supplies  for  her  markets 
during  the  Exposition  months  she  is  no  less  industrious  and  resource 
ful  in  her  schemes  for  cooking  and  serving  all  the  meals  her  visitori 
will  need.  She  owns  between  25,000  and  28,000  capital  restaurants* 
and  already  the  concessions  granted  to  refreshment  contractors  inside 
the  Exposition  grounds  has  yielded  to  the  management  of  the  fair 


FOODS  AND  DRINKS. 


$41 

nearly  $500,000.  Three  of  the  great  restaurants  in  the  Exposition  have 
figured  that  at  their  tables  will  be  served  during  the  summer  no  less 
than  2,540,000  meals.  With  all  this  food  to  prepare,  however,  Paris  is 
not  in  the  least  flustered,  and,  saving  right  in  and  about  the  Exposition, 
no  particular  preparations  have  been  made.  It  would,  in  fact,  be  hardly 
possible  to  add  any  improvements  to  the  French  system  of  public  dining 
rooms,  for  even  in  the  humblest  little  cremarie  restaurant  to  Durand’s 
or  the  Cafe  Voisin,  the  food  is  faultlessly  cooked  and  served  in  ac¬ 
cordance  with  the  prices  paid. 

“What  will  please  the  novelty-loving  Americans  at  the  Exposi¬ 
tion  will  be  the  cheap  German  penny-in-the-slot  restaurant,  a  mar¬ 
velous  mechanical  room  with  big  bulletin  boards  hung  about  the  walls 
announcing  the  menu  of  soups,  fish,  breads,  vegetables,  etc.,  for  the 
day.  None  of  these  are  served  by  the  typical  white-aproned  waitresses, 
but  a  nickel  in  the  soup  slot  spouts  a  fine  stream  of  rich  tomato  puree 
into  a  basin  held  under  the  potage  faucet;  2  or  3  sous  in  the  chop 
machine  produces  an  excellently  broiled  mutton  chop  with  a  crimped 
collar  about  the  bones,  and  from  a  big  basket-woven  affair  fall  hot  rolls, 
buttered  toast  or  fresh  cakes  in  accordance  with  the  slot  into  which  the 
proper  number  of  coppers  are  dropped.” 


i 


Mining  and  Metallurgy. 


N  all  former  world  expositions,  with  one  or  two  late  excep¬ 
tions,  it  had  been  customary  to  sever  the  department  of 
Mines  and  Mining  from  that  of  Metallurgy.  This  was 
deemed  proper  at  a  time  when  Metallurgy  had  not 
assumed  the  scientific  importance  it  at  present  com¬ 
mands,  or  rather,  when  it  was  deemed  a  mere  branch  of 
chemical  science.  While  in  its  laboratory  processes  Metallurgy  is  still 
a  chemical  science,  in  its  results  and  their  practical  application  it  is  an 
associate  science  with  that  of  Mining,  or,  as  is  popularly  termed,  an 
allied  industry.  Hence  Mining  and  Metallurgy  were  very  properly 
grouped  together  in  the  ingenious  and  intelligent  arrangement  of  the 
Exposition  of  1900,  by  M.  Picard,  and  became  Group  XI,  divided  into 
three  classes,  whose  numbers  began  where  those  of  Group  X  ended : 

Class  63.  Working  of  Mines  and  Quarries. 

Class  64.  Metallurgy — Specimens  of  Metals. 

Class  65.  Metal  Working — Mining  Utensils,  etc. 

The  home  of  this  interesting  group  was  the  handsome  Palace  on 
the  left  of  the  Champ  de  Mars  (Camp  of  Mars)  opposite  the  Palace  of 
Education,  Literature  and  Arts.  Passing  from  the  grounds  surround¬ 
ing  the  Eiffel  Tower,  and  going  southerly,  it  was  also  the  first  of  the 
immense  range  of  Palaces  which  skirted  the  left,  or  east,  side  of  the 
Champ  de  Mars,  having  double  facades,  one  on  the  Camp  and  the  other 
on  Avenue  Bourdonnais.  Speaking  from  a  strictly  architectural 
standpoint,  it  would  be  better  to  say  that  but  a  single  Palace  lined  either 
side  of  the  Champ  de  Mars,  and  that  it  was  divided  into  Exposition  sec- 


343 


344 


THE  PARIS  EXPOSITION. 


tions,  rather  by  internal  arrangement  than  by  outside  architectural  lines 
and  effects.  In  this  sense  then  the  Palace  of  Mining  and  Metallurgy 
was  the  first  section  of  that  stupendous  and  richly  ornamented  Grand 
Palace  occupying  the  left  side  of  the  Champ  de  Mars  and  stretching  from 
the  Eiffel  Tower  grounds  to  the  Palace  of  Electricity,  the  other  two  sec¬ 
tions  of  this  Grand  Palace  being  the  extended  central  Palace  devoted  to 
Textiles,  Tissues  and  Vestments,  and  the  southernmost  Palace  devoted 
to  Mechanics — all  combined,  or  each  separately,  presenting  a  veritable 
world  of  wonders,  alike  creditable  to  the  Exposition  and  attractive  and 
instructive  to  the  visitor. 

On  entering  the  Palace  it  took  little  more  than  an  intelligent  glance 
to  map  in  the  mind’s  eye  the  interior  arrangement  and  the  location  of 
the  three  classes  of  the  group.  To  the  left  was  Class  63 — Working  of 
Mines  and  Quarries — and  Class  65- — Metal  Working  and  Mining  Uten¬ 
sils.  Opposite  these  on  the  right,  were  annexes  of  these  two  classes. 
In  the  centre  was  Class  64 — Metallurgy  and  Metal  Specimens. 

Following  the  order  of  classes,  Class  63  presented  a  multitudinous 
display  of  the  working  of  mines  and  quarries,  and  of  the  plant  appliances 
and  products  of  such  working.  Among  the  first  of  those  to  be  noted 
were  displays  of  delicate  and  complicated  appliances  and  processes  used 
in  the  completion  of  underground  surveys.  The  peach-rod  man  and  the 
water-conjurer  may  not  have  been  there  in  search  of  new  “tricks  of 
trade,”  but  there  appeared  a  highly  instructive  exhibit  illustrative  of 
modern  scientific  ways  of  going  about  prospecting  for  minerals.  Fol¬ 
lowing  these  came,  very  naturally,  the  exhibition  of  appliances  for  reach¬ 
ing  underground  depths,  such  as  the  sinking  of  artesian  and  other  wells, 
the  boring  for  minerals  of  all  kinds,  and  for  oils.  Next  came  an  exhi¬ 
bition  of  works  for  obtaining  natural  mineral  waters,  beautifully  exe¬ 
cuted  drawings  of  a  successful  plant  for  such  purpose,  and  the  methods 
employed  in  sinking  shafts.  Then  followed  the  plant  and  methods 


ARAB  PARADE  ON  STREET  OF  ALGIERS. 
(Trocadero  Garden.) 


MINING  AND  METALLURGY. 


347 


adopted  in  driving  headings,  for  excavating  and  sinking  mines  and 
quarries,  the  hand  tools  and  appliances  necessary  for  the  same,  and  for 
the  introduction  of  condensed  air,  both  as  a  power  and  means  of  breath¬ 
ing.  There  were  also  the  many  forms  of  explosives  used  in  blasting  in 
mines  and  quarries,  their  graduation  to  suit  different  kinds  and  hard¬ 
nesses  of  rock,  and  the  methods  of  igniting  them  so  as  to  secure  safety 
and  the  best  general  results.  The  Retrospective  Exhibition  attached 
to  this  class  showed  interesting  drawings  of  metal  work  from  the  earliest 
historic  times  to  the  present. 

In  still  further  study  of  Class  63,  one  found  the  plant  and  methods 
used  for  underground  transport,  the  machinery  used  for  extracting  ores 
from  mines,  and  for  lowering  debris  for  filling  up  useless  spaces.  A 
most  interesting  feature  was  the  exhibit  of  improved  machinery  and  ap¬ 
paratus  for  lowering  and  raising  those  who  work  in  deep  mines,  also 
for  pumping,  draining  and  keeping  dry  and  safe  all  sorts  and  conditions 
of  mines.  Another  important  feature  of  underground  working  was 
that  of  ventilation,  and  here  one  found  everything  appertaining  to  this, 
such  as  air-shafts,  mammoth  fans,  etc.  Then  appeared  countless  appar¬ 
atus  for  lighting  mines,  in  the  form  of  a  beautiful  array  of  safety  lamps, 
safety  appliances  of  every  conceivable  design,  safety  catches,  safety 
signals,  and  life-saving  appliances.  After  the  ores  had  been  dug  and 
raised  to  the  surface,  it  was  shown  how  they  were  handled  and  trans¬ 
ported  away  to  be  refined.  In  this  showing  were  mineral  railways, 
inclined  planes,  loose  cables,  aerial  cables  and  tramways,  loading  ap¬ 
pliances  for  wagons,  cars,  boats  and  other  mediums  of  transport.  Then 
there  was  an  array  of  special  machinery  for  use  in  the  working  of  salt 
mines.  Methods  of  working  such  machinery  were  shown,  together 
with  those  made  use  of  in  finding  and  raising  petroleum,  auriferous 
sands  and  gravels. 


348 


THE  PARIS  EXPOSITION. 


Large  spaces  were  devoted  to  ingenious  modern  apparatus  for 
the  washing  and  the  mechanical  preparation  of  ores  and  mineral  fuels, 
to  the  machinery  for  compressing  fuels,  and  for  the  preparing  of  char¬ 
coals.  Here  also  were  numerous  exhibits  of  coke  ovens,  for  the  coking  • 
of  bituminous  coal  and  similar  fuels.  Then  one  found  spread  out  for 
inspection  numerous  and  interesting  displays  of  ornamental  stones, 
hard  stones  and  stones  suitable  for  building  purposes,  rough-hewn 
stones  and  stones  dressed  and  polished.  Close  by  were  stones  out  of 
which  the  limes  and  cements  used  in  building  and  paving  are  made. 
Again,  there  appeared  huge  exhibits  of  grind-stones,  mill-stones,  pum¬ 
ice  stones,  and  stones  of  all  kinds  used  for  sharpening  and  polishing 
purposes. 

Passing  along,  one  came  upon  enormous  exhibits  of  various 
moulding  sands,  and  close  by,  displays  of  refractory  sands.  These  were 
followed  by  exhibits  of  the  various  clays,  such  as  kaolins,  and  of  flints 
and  other  materials  used  in  the  manufacture  of  pottery  and  porcelain. 
Then  came  exhibits  of  natural  earths  and  fire  clays,  boracite,  fluorspar, 
asbestos,  meerschaum,  graphite  and  plumbago,  slates,  and  even  gems 
and  precious  stones.  Then  appeared  fine  exhibits  of  various  salts,  rock- 
salt,  ocean-salt,  salt  from  salt  springs,  saltpetre  and  nitrates,  sulphates, 
alums  and  other  natural  salts,  borax  and  boracic  acid,  raw  sulphur  and 
iron  pyrites,  natural  mineral  colors,  natural  mineral  manures,  such  as 
phosphates  and  coprolites,  etc.  An  adjoining  space  was  given  up  to 
mineral  fuels,  such  as  peat,  lignite,  bituminous  and  anthracite  coals; 
also  to  coal  gas,  rock  asphalt,  mineral  wax  and  bitumen,  raw  yellow 
amber  and  jet.  Following  these  were  metallic  ores  and  native  metals 
of  every  kind  and  description. 

The  last  section  of  this  stupendous  and  important  class  showed 
geological  maps  and  underground  topography,  many  maps  being  in 


MINING  AND  METALLURGY. 


349 


relief;  and  plans  for  working  mines  were  also  given,  together  with 
statistics  and  publications  dealing  with  geology,  underground  topog¬ 
raphy,  mineralogy,  and  all  things  to  do  with  mining. 

Standing  in  the  midst  of  all  the  imposing  objects  of  this  Class,  one 
could  not  help  musing  on  the  mighty  progressions  of  the  science  which 
made  such  displays  possible.  Genesis  recounts  that  Tubalcain  was  the 
“instructor  of  every  artificer  in  brass  and  iron.”  If  it  had  been  given  to 
this  ancient  forerunner  of  all  the  metallurgists  to  return  to  the  earth  and 
go  through  all  the  parts  of  the  Universal  Exposition  of  1900  which 
belong  to  the  working  of  mines  and  to  metallurgy,  he  would  have  been 
singularly  proud  of  the  progress  realized  by  his  pupils. 

Tubalcain  only  recognized  brass  and  iron.  He  did  not  suspect 
the  multitude  of  substances  that  man  has  since  torn  from  the  earth 
for  his  uses,  and  certainly  he  did  not  foresee  coal.  It  is  since  the  dis¬ 
covery  of  coal  and  the  progress  realized  in  its  working  that  the  indus¬ 
tries  of  mining  and  metallurgy  have  made  this  prodigious  development 
of  which  the  Exposition  revealed  the  surprising  results.  Hence  it 
was  that  the  coal  mines  and  their  working  occupied  so  important  a 
place  in  the  Palace  of  Mining  and  Metallurgy;  and  hence  also  that 
powerful  interest,  even  in  the  minds  of  the  general  public,  which  at¬ 
taches  to  the  working  of  mines  led  to  the  establishment  of  a  special 
exhibit,  a  veritable  “attraction,”  in  the  ancient  quarries  which  extended 
under  the  mound  of  the  Trocadero. 

This  interest  is  fully  justified  by  the  important  role  that  coal  plays 
in  the  economic  life  of  all  civilized  countries,  and  which  causes  it  to  be 
truly  called  “the  daily  bread  of  industry.” 

Immediately  within  the  principal  entrance  of  the  Palace  of  Mining 
and  Metallurgy,  at  the  left  under  the  cupola,  was  a  door  of  circular 
form  which  gave  entrance  to  the  galleries  of  Class  63.  This  door  itself 


35<> 


THE  PARIS  EXPOSITION. 


merited  attention.  It  was  a  sort  of  trophy,  uniquely  constructed  with 
the  tools  and  diverse  apparatus  of  labor  employed  in  the  mines.  In 
considering  the  elements  of  this  door  and  the  objects  grouped  in  its 
neighborhood,  it  was  not  necessary  to  be  initiated  in  the  process  of  ex¬ 
traction  to  notice  the  prominent  part  played  by  the  cables.  They  were 
there  of  all  materials  and  of  every  degree  of  thickness,  and  the  care 
used  in  their  manufacture  gave  an  idea  at  once  of  their  importance.  As 
already  stated,  in  the  galleries  of  Class  63  were  met  all  the  raw  pro¬ 
ducts  brought  out  of  the  soil  by  human  industry;  also  models  of  all  the 
operations  for  assuring  the  economic  working  of  these  products,  ven¬ 
tilation  of  subterranean  passages,  hoisting  and  safety  of  employes,  etc. 

The  exhibit  of  the  United  States  consisted  of  a  mineralogical  col¬ 
lection  which  was  a  veritable  revelation  not  only  for  specialists  but  also 
for  the  general  public.  This  country  contains  nearly  all  the  rocks  and 
minerals  that  are  found  anywhere,  and  many  that  are  found  nowhere 
else.  The  specimens  in  this  collection  had  been  chosen  with  the  great¬ 
est  care  with  a  view  to  instructing  and  interesting  the  visitor.  In  no 
museum  could  one  find  more  instructive  fragments  of  turquoises,  opals, 
or  garnets  in  the  rock  itself  where  these  precious  stones  lie.  The  same 
could  be  said  of  the  amianths  and  micas  and  a  hundred  other  mineral 
products,  some  well-known,  others  novel  and  all  beautiful,  all  utilized 
or  capable  of  being  so. 

Here  especially  was  made  evident  the  multiplicity  of  objects  that 
man  derives  from  the  mineral  kingdom  for  his  varied  needs.  It  is 
generally  believed  that  the  animal  and  vegetable  kingdoms  are  chiefly 
put  under  contribution,  to  the  diverse  manifestations  of  our  industrial 
activity.  It  is  the  contrary  which  is  true.  Both  in  tonnage  and  in 
variety  of  products,  it  is  more  and  more  the  mineral  kingdom  which  is 
the  great  source  of  our  wealth. 


. 


r 


VIEW  UNDER  THE  CUPOLA.  ANIMAL.  WOOD  AND  MINERAL  EXHIBIT 

(Grecian  Pavilion.)  <Pala“  of  Russian  Asia.) 


MINING  AND  METALLURGY. 


353 


Certainly  it  has  not  always  been  so,  since  hunting,  fishing,  pas¬ 
toral  life,  working  forests  and  agriculture  were  the  first  occupations  of 
humanity.  But  from  the  first  attempts  of  Tubalcain,  this  occupation 
has  marched  with  giant  strides  in  the  way  opened  by  that  old  forger, 
and  the  exhibition  of  Mining  and  Metallurgy  rendered  evident  the 
great  evolution  of  our  customs. 

It  is  usually  supposed  that  coal  and  the  commoner  metals,  iron, 
zinc,  copper,  lead,  etc.,  constitute  the  most  important  mining  industries; 
but>a  visit  to  the  petroleum  exhibits  of  Russia  and  America  revealed  the 
fact  that  this  industry  has  also  attained  enormous  proportions. 

Class  64  of  Group  XI.  was  devoted  to  Metallurgy,  that  is,  to  the 
plant,  processes  and  products  relating  to  the  manufacture  of  refractory 
materials  for  metallurgical  purposes,  or,  in  other  words,  to  every  kind 
of  metal  work  finished  and  in  the  rough. 

Many  products  of  the  mines  and  quarries  can  be  utilized  by  man 
immediately  or  at  least  without  great  preliminary  preparation.  Such  is 
notably,  coal,  although,  as  could  be  seen  in  Class  63,  this  combustible 
must  follow  certain  operations  of  washing  and  sorting.  Petroleum 
must  be  refined;  and  it  gives  off  a  number  of  other  products,  of  which 
the  United  States  section  presented  an  interesting  and  instructing  col¬ 
lection.  Salt  and  asphalt  must  be  purified.  Freestone,  slate  and 
marbles  must  be  sawed,  cut  and  polished.  However,  these  diverse 
operations  are  conducted  without  making  a  complete  transformation 
in  the  material  extracted  from  the  bosom  of  the  earth  and  without  great 
difficulty. 

The  metallic  minerals,  on  the  other  hand,  are  not  capable  of  being 
directly  utilized,  and  must  be  transformed.  There  was  Tubalcain’s 
great  merit  in  discovering  the  means  of  rendering  them  malleable,  and 
thereby  inventing  metallurgy.  Tubalcain  worked  in  brass  and  iron. 


354 


THE  PARIS  EXPOSITION. 


For  the  brass,  of  which  copper  is  the  base,  the  difficulty  was  less.  For 
that  reason  the  use  of  brass  preceded  by  many  centuries  the  use  of  iron, 
dating  back  even  to  prehistoric  times.  Objects  of  brass,  even  from  the 
time  of  the  polished  stone  age,  have  been  found  in  the  mounds. 

Iron,  on  the  contrary,  is  the  most  refractory  of  all  metals,  and  dur¬ 
ing  the  long  centuries  it  has  been  with  enormous  difficulty  that  man  has 
succeeded  in  obtaining  it  pure  in  very  large  quantities.  Consequently, 
that  which  would  have  aroused  the  greatest  astonishment  in  the  mind 
of  Tubalcain  would  have  been  the  colossal  pieces  of  iron  and  steel 
under  the  dome  of  the  principal  entrance  to  the  Palace  of  Mining  and 
Metallurgy,  nearly  all  destined  for  the  formidable  engines  of  modern 
navies,  armies  and  commerce  and  representing  a  weight,  mass  and 
resistance  that  startled  the  imagination.  At  one  side  was  seen  a  simple 
table  of  steel,  supported  by  a  beam  of  a  single  piece,  which  had  been 
bent  in  festoons  ninety  times,  with  a  perfection  which  would  leave 
no  place  for  criticism  as  the  work  of  a  dressmaker  with  a  piece  of  silk 
ribbon. 

The  work  of  modern  metallurgy  is  signally  exemplified  throughout 
the  Exposition  itself — the  immense  buildings,  constructed  almost  en¬ 
tirely  of  steel,  the  machines  of  all  sorts,  the  dynamos,  and  especially 
the  Bridge  Alexander  III.,  which  is  one  of  the  crowning  triumphs  of 
metallurgy.  But  one  must  defer  generalization,  and  make  the  trip 
through  the  Class  (64).  The  display  to  meet  the  eye  was  that  of  fire¬ 
bricks,  blocks,  crucibles,  retorts  and  glazed  bricks.  After  this  came 
gas  generators  and  gas  furnaces  employed  in  metallurgy  and  the  appli¬ 
cation  of  liquid  fuels  to  metallurgy.  Then  came  the  treatment  of  the 
ores  of  iron,  manganese  and  chromium,  and  the  plant  employed  in  iron¬ 
works  and  blast  furnaces,  the  blowers,  hot  blast  apparatus,  and  all  that. 
Next  was  the  plant  employed  in  foundry  works,  cupola  furnaces  and 


MINING  AND  METALLURGY. 


355 


blowers,  the  production  of  pig  iron  and  casting  of  iron  alloys.  Follow¬ 
ing  these  were  the  plant,  processes  and  products  employed  in  the  manu¬ 
facture  of  iron  and  steel  ingots,  in  bars,  in  sheets,  or  in  finished  plates, 
and  in  the  production  of  steel  castings.  Here  too  were  puddling,  rever¬ 
beratory  and  smelting  furnaces,  power  hammers,  pressers  and  rollers, 
and  the  general  arrangement  and  plant  for  producing  Bassemer  steel 
by  the  acid  or  the  basic  process,  and  for  producing  open  hearth  steel 
or  crucible  steel.  Various  methods  of  manufacturing  iron  or  steel 
direct  from  the  ore,  and  carburation  of  iron  were  also  shown.  Then 
came  machinery,  processes  and  products  connected  with  iron  ware, 
hoop  iron,  band  iron,  rods  for  wire  drawing,  iron  and  steel  wire,  iron 
of  special  sections,  tremendous  armor  plates,  sheet  iron  for  commercial 
and  building  purposes,  corrugated  iron,  axles,  tires,  wheels,  large  forg¬ 
ings,  S’1111  barrels,  projectiles,  welded  and  weldless  tubes,  and  a  host 
of  other  things.  The  production  of  galvanized,  leaded,  and  nickelled 
iron  and  tin  plates  (lustrous,  dull,  mottled,  ornamented,  printed,  tin¬ 
plates,  tins  for  preserves  and  blacking),  were  displayed  to  the  eyes 
of  the  spectator.  Following  came  the  treatment  of  copper  ore  by  the 
dry  and  by  the  wet  methods,  the  plant  and  processes  employed  at  cop¬ 
per  work;  and  there  was  copper  shown  and  its  alloys  in  ingots,  bars 
and  sheets.  Next  the  treatment  of  various  ores  was  shown,  the  plant 
for  extracting  and  refining  metals,  furnaces  for  calcination,  roasting, 
smelting,  distillation,  cupellation  and  such  things,  amalgam  plant  and 
accessories.  Then  tin  ingots,  zinc  in  ingots,  sheet  zinc,  and  zinc  white. 
There  was  lead  in  pig,  sheet  lead,  and  lead  pipes.  There  were  quick¬ 
silver,  antimony  and  oxides  of  antimony,  nickel  in  ingots,  hammered, 
drawn  or  rolled  nickel,  then  also  is  metallic  arsenic,  aluminium  and 
aluminium  alloys.  Precious  metals  too  were  there  exhibited,  and  vari¬ 
ous  alloys  that  are  used  with  them  to  make  them  more  serviceable.  To 


356 


THE  PARIS  EXPOSITION. 


end  up  this  class  there  were  the  plant,  processes  and  products  of  elec¬ 
trical  metallurgy,  and  the  plant  used  in  washing  goldsmiths’  dust  and 
dust  from  refiners  of  precious  metals.  The  Retrospective  Exhibition 
of  this  Class  contained  numerous  examples  or  drawings  of  metal  work 
from  the  earliest  times. 

In  passing  to  Class  65  of  the  Group,  that  class  devoted  to  Metal 
Working,  one  may  be  permitted  to  say  in  a  general  way  that  the  French 
distinguish  Metallurgy  proper  from  Metal  Working — and,  therefore, 
Class  64  from  Class  65 — by  calling  the  former  Gross  (or  Greater)  Metal¬ 
lurgy  and  the  latter  Small  Metallurgy.  Only  certain  branches  of  human 
activity,  requiring  the  employment  of  enormous  pieces  of  metal,  are 
tributaries  to  the  greater  metallurgy. 

On  the  contrary,  there  is  no  art,  science  or  industry,  which  does 
not  need  to  have  more  or  less  recourse  to  the  small  metallurgy,  because 
metal  under  some  form  or  other  is  used  everywhere.  So  that  the  com¬ 
plete  exhibition  of  small  metallurgy  was  the  entire  Exposition  itself, 
for  in  whatever  Palace  you  set  your  foot,  even  in  the  Grand  Palace  of 
Fine  Arts,  you  found  the  use  of  metal. 

However,  in  Class  65  were  grouped  the  objects  and  machines 
which  belonged  more  to  the  direct  work  of  metal  taken  in  small  quan¬ 
tities.  Such  was,  for  example,  the  nail  manufactory,  and  certainly, 
when  one  had  gone  through  the  diverse  sections  of  Class  65,  it  would 
have  been  impossible  to  pretend  that  the  Universal  Exposition  of  1900 
lacked  nails.  They  were  everywhere,  and  attracted  attention  by  the 
ingenious  dispositions  that  were  made  of  them.  There  were  triumphal 
arches,  gates,  fences,  balustrades,  decorative  motives  of  extraordinary 
variety,  and  so  much  more  curious  because  the  unique  element  of 
which  they  were  composed  was  so  simple.  Moreover,  nails  were 
humorously  grouped  to  form  the  figures  of  animals.  In  the  Russian 


THE  GREAT  STAIRCASE,  AUSTRIAN  SECTION 


MINING  AND  METALLURGY.  350 

Section,  for  example,  was  a  bear  with  blue-black  fur,  entirely  composed 
of  little  iron  nails.  In  the  Swedish  section,  there  was  a  tableau,  against 
the  wall,  representing  one  of  those  gnomes  of  the  mines  which  play 
an  important  part  in  the  legends  of  Scandinavian  countries.  From  a 
distance,  this  had  the  effect  of  a  piece  of  tapestry,  worked  by  a  feminine 
hand,  and  it  was  surprising  to  find  it  in  the  Palace  of  Mining  and  Metal¬ 
lurgy  rather  than  that  of  the  Palace  of  Threads,  Cloths  and  Clothing. 
But  on  nearer  approach,  it  was  discovered  that  the  design  was  made 
solely  with  nails  of  diverse  tints  placed  flat,  one  against  another,  and 
imitating  the  stitches  of  tapestry. 

In  the  French  section  metal  pens  for  writing  were  being  made. 
The  operation  was  most  curious  in  its  simplicity,  rendered  possible  by 
the  perfection  of  machinery.  Next  to  this,  the  manufacturing  of  pins 
could  be  seen,  complicated,  twisted  pins  and  hair  pins,  but  obtained  by 
the  simplest  machinery. 

The  machinery  of  small  metallurgy  has  acquired  a  perfection  of 
which  the  Palace  gave  many  examples.  In  the  German  section,  little 
metal  boxes  were  being  made.  A  band  of  tin  or  copper  advanced  auto¬ 
matically  and  the  machine  cut  off  disks  of  the  required  dimensions  and 
fitted  them  together  with  mathematical  precision.  All  these  things 
were  seen  in  detail  on  the  ground  floor  and  second  story,  and  revealed 
the  facility  with  which  metal  is  adapted  to-day  to  all  appliances.  As 
the  exhibition  of  gross  metallurgy  gave  the  sensation  of  power  attained 
by  the  industry  in  the  production  of  great  pieces  of  metal,  the  exhibi¬ 
tion  of  small  metallurgy  revealed  the  plasticity  that  has  been  obtained 
in  all  these  substances  apparently  so  refractory  and  incompressible. 

This  plasticity  especially  appeared  in  the  artistic  application  of 
metal.  Artistic  iron  work  was  admirably  represented  in  all  sections 
of  the  class,  and  in  the  exhibits  of  every  country,  especially  Germany, 


360  THE  PARIS  EXPOSITION. 

where  this  industry  greatly  flourishes.  This  exhibit  included  many 
beautiful  pieces,  one  door  in  aluminum  bronze  being  a  perfect  marvel. 
The  metal  had  literally  flowered  under  the  hammer. 

But  one  must  again  leave  off  general  views,  and  enter  the  portals 
of  the  Class  for  a  special  inspection  of  its  many  wonders.  It  began 
with  the  plant  and  processes  used  in  foundries  of  bronze,  brass,  zinc, 
tin,  malleable  cast  iron  and  other  materials.  And  here  were  shown  the 
special  tools  (other  than  those  included  in  the  machine  tools  class),  by 
smiths,  farriers,  bolt  and  screw  manufacturers,  wire  drawers,  nail 
makers,  buckle  makers,  chain  makers,  coppersmiths,  plate-makers,  tin¬ 
smiths,  edge  tool  makers,  ironmongers,  locksmiths  and  other  manu¬ 
facturers  and  mechanics.  The  appliances  and  processes  employed  in 
enamelling  metals,  and  metal  articles  were  also  on  exhibition,  as  well  as 
those  for  fine  rolling,  and  for  gold,  silver  and  tin  beating,  and  the 
apparatus  for  working  platinum.  Following  these  were  shown  the 
processes  for  coating  metals  with  a  more  precious,  malleable  or  durable 
metal,  as  well  as  the  great  art  of  electro-plating. 

The  second  section  in  this  class  was  devoted  to  bells  and  hand  bells, 
to  taps,  cocks,  and  bronze  fittings,  and  various  forgings,  farriers’  arti¬ 
cles,  horse  shoes,  and  even  ox  shoes.  Here  too  were  shown  bolts  and 
nuts,  screws  for  wood  and  metal,  and  the  products  of  wire  drawing  and 
nail  making.  Here  were  French  nails,  brads,  pins,  and  needles;  wire 
rods  were  in  plenty.  There  was  a  great  variety  of  barbed  wire  shown, 
and  other  sorts  of  wire  for  fencing,  for  net  and  gauze  purposes,  and  the 
products  of  fine  wire  drawing  machines.  Close  by  were  the  products  of 
buckle  making,  staples,  hooks  of  various  kinds,  and  hinges,  products  of 
chain  making,  and  weldless  chains.  Then  came  household  utensils  in 
copper  and  tin,  and  metal  plates,  flanged,  punched,  cut,  ornamented, 
perforated,  and  all  that.  There  were  enamelled  plates,  and  castings  for 


mining  AMD  metallurgy. 


& 


building,  household  and  ornamental  purposes,  metal  pots  and  pans, 
plain,  polished,  japanned,  enamelled,  granited,  and  lined  with  porcelain 
and  other  substances.  There  were  drawn  tubes,  and  piping  in  iron, 
steel,  copper,  brass,  and  lead.  There  were  metal  caps  and  stoppers, 
buttons,  and  studs,  hooks  and  eyes.  A  great  feature  was  made  of  steel 
pens,  and  there  were  spectacle  frames,  and  springs  innumerable.  Next 
to  these  came  the  edge  tools,  every  variety  of  article  that  cuts  one  would 
think  was  gathered  under  this  roof;  scythes  and  sickles,  pruning 
hooks,  hacking  cutlasses,  axes,  hatchets,  files,  in  fact,  every  variety  of 
cutting  tools.  Next  to  these  were  the  pulleys  and  the  pulley  blocks. 
Then  came  flat  irons,  and  still  further  on  builders’  ironmongery,  door 
hinges,  window  fasteners,  door  knobs,  door  knockers,  locks,  padlocks, 
bolts,  keys,  patent  and  safety  locks.  From  that  one  passed  to  metal 
safes,  iron  rooms,  and  strong  rooms  of  all  sorts  in  metal,  and  having 
finished  the  house,  one  passed  into  the  garden,  where  were  found  vases 
in  wrought  or  cast  iron,  then  again  paying  attention  to  the  indoors  of 
a  house,  one  came  upon  stair  rails  and  balusters,  railings  and  balconies 
in  artistic  wrought  iron,  iron  beds,  and  various  utensils,  painted,  enam¬ 
elled,  or  japanned.  Summer  houses  and  pavilions,  too,  were  shown  in 
iron  or  in  steel.  There  were  aviaries,  sheds,  iron  framework  of  tem- 
'  porary  structures,  shop  shutters,  iron  shutters  and  Venetian  blinds,  iron 
brackets,  and  a  multitude  of  other  things.  Then  came  various  products 
of  fine  rolling  and  gold,  silver  and  tin  beating,  and  solder,  and  many 
examples  of  gilding,  silver-plating,  copper-plating,  bronzing,  galvan¬ 
izing  nickel-plating,  electro-plating,  and  last  of  all  came  the  galvanized 
or  leaded  iron  sheets,  and  plumbers’  work  in  lead  and  zinc. 

The  foreign  sections  of  the  Group  of  Mining  and  Metallurgy  were 
all  fully  and  finely  represented.  Mention  has  already  been  made  of  the 
magnificent  display  of  mineral  and  metallurgical  products  made  by  the 


3^2 


THE  PAkIS  EXPOSITION. 


United  States.  Italy  was  represented  by  steel  from  Term,  and  huge 
motors.  Germany  sent  an  exhibit  of  wrought  iron,  gas-engines,  and 
safes,  and  on  the  first  floor  a  collection  of  amber.  From  Russia  came 
iron  and  steel  from  Moscow  and  a  large  collection  of  factory  engines 
from  every  big  town.  Great  Britain,  with  very  little  space  at  its  dis¬ 
posal,  sent  a  collection  of  Nettlefold  screws,  electric  cables,  safes,  and 
steel  ingots.  The  firm  of  Nobel  sent  some  of  its  well-known  explosives. 
Norway  and  Sweden  were  well  represented,  while  Belgium  was  repre¬ 
sented  by  immense  engines  from  Sambre  and  Liege,  and  by  different 
specimens  of  minerals.  Finally  Austria  and  Hungary  had  interesting 
exhibits. 


Decoration  and  Furniture. 


OR  reasons  which  will  hereafter  become  plain  to  the 
reader,  it  is  best  to  begin  the  study  of  this  magnificent 
and  complicated  group — Group  XII — by  presenting 
at  once  its  classification,  under  the  M.  Picard  arrange¬ 
ment  of  exhibits.  Remembering  that  the  numbers  of 
each  class  began  where  those  of  the  classes  of  the  previous  group  left 
off,  the  classification  ran  thus : 

Class  66.  Fixed  Decoration  of  Public  Buildings  and  Dwelling 
Houses. 

Class  67.  Stained  Glass. 

Class  68.  Wall  Papers  and  Paper  Hangings. 

Class  69.  Household  and  Art  Furniture. 

Class  70.  Carpets,  Tapestries  and  other  Upholstery  Materials. 

Class  71.  Temporary  Decorations  and  Upholsterers’  Work — Bed¬ 
room  Furniture. 

Class  72.  Ceramics — Pottery  and  Porcelain. 

Class  73.  Glass — Crystal. 

Class  74.  Apparatus  and  Processes  for  Heating  and  Ventilation. 

Class  75.  Apparatus  and  Processes  employed  for  Lighting,  other 
than  for  Electric  Lighting. 

The  visitor  to  the  Exposition  of  1900  who  stood  in  the  centre  of  the 
new  Bridge  Alexander  III,  enjoyed  the  charm  of  three  separate  vistas. 
One  lay  northward  along  the  new  Avenue  Nicholas  II  till  it  entered  the 
Avenue  Champs  Elysees.  It  was  not  a  lengthy  vista,  but  it  was  ren¬ 
dered  superb  by  tree  and  flower  effects,  and  by  the  two  beautiful  Palaces 
of  Fine  Arts,  one  on  either  side.  Another  lay  westward,  and  it  was  the 

363 


THE  PARIS  EXPOSITION. 


364 

river  Seine — the  water  avenue  of  the  Exposition — presenting  more 
than  a  mile  of  animated  view  of  barge,  of  quay,  and  of  quay-lined  palaces 
and  pavilions.  The  third  was  to  the  south  of  the  river.  This  was  the 
flower  and  tree  ornamented  Esplanade  des  Invalides.  It  was  not  the 
spacious  and  decorated  Esplanade  of  old,  for  it  had  surrendered  a  great 
part  of  its  area,  or  both  left  and  right  sides,  and  for  its  full  length,  to  the 
purposes  of  the  Exposition.  Yet  it  was  still  beautiful  and  inviting,  and 
one  must  enter  it  now  for  further  view  and  study. 

The  thought  to  be  kept  uppermost  now  was  that  one  was  in  a  world 
devoted  to  manufactures  and  industries.  All  the  buildings  on  either 
side  were  dedicated  to  the  activity  and  art  of  converting  materials  into 
useful  and  ornamental  forms,  and  in  their  contents  they  constituted  a 
mighty  monument  of  the  crafts  that  occupy  men’s  minds  and  hands  in 
both  hemispheres.  The  Palace  on  the  left,  occupying  the  entire  length 
of  the  Esplanade,  and  considered  as  a  single  erection,  was  the  National 
Palace  of  Manufactures.  It  was  dedicated  solely  to  French  exhibits  of 
manufactures  and  diversified  industries,  and  was  divided  into  suitable 
sections,  or  minor  palaces,  rather  by  internal  arrangement  than  by  out¬ 
side  architectural  effects.  The  Palace  on  the  right  occupied  a  like  space, 
but  it  was  dedicated  to  foreign  exhibits  of  manufactures  and  diversified 
industries,  and  its  sub-divisions  were  suited  to  the  accommodation  of  the 
various  competing  nations.  This  entire  hive  of  industry  was  inviting 
and  instructing  to  the  business  world,  and  especially  to  the  nations  who 
are  so  earnestly  contesting  for  the  world’s  trade. 

Entering  the  left-hand  Palace,  or  that  part  of  it  devoted  to  French 
Manufactures,  one  came  almost  directly  upon  the  first  class  of  Group 
XII — Class  66,  embracing  Fixed  Decorations  of  Public  Buildings  and 
Dwelling  Houses.  Here  everything  was  found  most  systematically 
arranged  and  exquisitely  shown.  The  class  began  with  plans,  designs 
and  models  for  permanent  decorations.  These  were  most  comprehen- 


DECORATION  AND  FURNITURE. 


3^5 


sive,  and  furnished  to  visitors  material  for  study  and  admiration,  no  mat¬ 
ter  how  often  they  returned  to  view  them  or  how  long  they  remained. 
Then  came  ornamental  carpentry  and  joiners’  work,  models  of  frame¬ 
work  in  great  variety,  decoration  of  roofs  and  timber  sides,  specimens  of 
doors,  windows,  panels,  flooring,  even  organ  cases  and  church  pews. 

Another  section  of  the  class  was  given  up  to  fixed  decorations  in 
marble,  stone,  plaster,  papier-mache,  carton-pierre,  and  the  peculiarly 
French  feature  of  decorative  sculpture.  One  then  passed  to  a  very 
beautiful  display  of  iron  work  and  locksmith’s  work  as  applied  to  fixed 
decorations,  such  as  wrought  iron  entrance  gates  and  doors,  and  artis¬ 
tically  wrought  railings  and  balustrades,  of  iron,  steel  and  bronze. 
Further  on  was  seen  decorative  painting  in  many  styles  and  colors  upon 
stone,  wood,  metal,  canvas  and  other  grounds.  And  here,  too,  were 
shown  mosaic  pavements  ingeniously  worked  in  stone  or  marble,  enamel 
mosaics  for  walls,  vaults  and  domes,  and  terra-cotta  and  other  ceramic 
work  for  the  permanent  decoration  of  public  buildings  and  private 
houses. 

If  the  visitor  were  a  lady,  she  would  here  feel  disposed  to  complete 
her  view  of  house  decorations  by  violating,  for  the  time  being,  M. 
Picard’s  comprehensive  classification  of  exhibits,  and  next  entering 
upon  a  study  of  Class  70 — Carpets,  Tapestries  and  other  Upholstery 
Materials — a  class  quite  nearly  allied  to  Class  66,  and  worthy  of  admir¬ 
ation.  The  first  sub-division  of  this  class  was  devoted  to  special  machin¬ 
ery  for  making  carpets  and  tapestry,  high  warp  looms,  and  many  ingen¬ 
ious  engines  for  the  preparation  of  raw  materials  and  the  weaving  of 
them  into  beautiful  designs  and  serviceable  shapes.  Then  came  the 
carpets  themselves,  moquetts,  tapestry,  terry  or  velvet  pile,  felts,  mat¬ 
ting,  and  all  the  comfortable  and  decorative  fabrics  that  cover  floors  and 
walls.  Next  came  furniture  stuffs  in  a  great  variety  of  materials — silk, 
wool,  cotton,  linen,  jute,  ramie,  plain,  mixed,  brocaded,  printed,  em- 


36  6 


THE:  PARIS  EXPOSITION 


broidered.  Then  appeared  fabrics  in  horsehair,  in  leather,  cloth,  mole¬ 
skins  and  other  materials,  followed  by  leather  for  hangings  and  furniture 
coverings,  oil  cloths  and  lineoleum  in  vast  varieties.  Indeed  Class  70 
was  in  many  respects  the  most  important  section  of  the  entire  vast  Pal¬ 
ace  of  Manufactures  and  Diversified  Industries. 

Before  leaving  the  Class,  special  mention  should  be  made  of  the 
ancient  and  historic  industry  of  weaving  the  celebrated  Gobelin  Tapes¬ 
try.  New  manufactories  at  the  Exposition  illustrated  the  late  progress 
made  in  the  revival  of  this  antique  and  picturesque  industry.  For  some 
years  efforts  had  been  made  to  restore  the  original  style  belonging  to 
this  art  of  tapestry-weaving,  which  was  in  such  a  flourishing  condition 
in  France  during  the  Middle  Ages.  Relinquishing  the  system,  which 
used  to  result  in  a  labored  and  by  no  means  first-rate  copy  of  pictures, 
with  its  intricate  designs  and  endless  gradations  of  tints,  it  was  there 
attempted  to  simplify  the  design  and  work  with  flat  tints.  This  inno¬ 
vation  in  the  manufacture  of  Gobelin  tapestry  gave  the  exhibition  an 
original  character,  and  it  was  seen  that  even  in  those  pieces  of  tapestry 
executed  from  antique  patterns  care  had  been  taken  to  follow  these 
principles,  to  heighten  the  tones,  simplify  the  designs,  and  accentuate 
the  outline. 

On  the  way  to  the  exhibition  of  Gobelins,  coming  from  the  stair¬ 
case  placed  in  the  corner  of  the  palace  to  the  left  of  the  Place  des  In- 
valides,  one  passed  a  series  of  tapestries  made  shortly  after  the  ex¬ 
hibition  of  1880  in  accordance  with  the  old  traditions;  they  appeared 
somewhat  low  in  tone  there,  but  it  was  easier  to  criticise  them  by  com¬ 
paring  them  with  the  modifications  introduced  into  the  composition, 
and  the  manufacture  of  those  of  more  recent  date. 

On  the  right,  one  saw  first  of  all  a  symbolical  representation  of 
the  French  Republic.  This  hanging  will,  during  official  ceremonies,  be 


THE  STREET  OF  NATIONS. 


DECORATION  AND  FURNITURE. 


369 


placed  behind  the  seat  occupied  by  the  President  of  the  Republic.  To 
the  left  hung  a  piece  of  tapestry  representing  the  “Middle  Ages/’  form¬ 
ing  part  of  a  series  intended  for  one  of  the  halls  of  the  National  Library, 
and  executed  from  the  designs  of  M.  Ehmann. 

On  one  side,  in  a  kind  of  alcove,  the  panels  of  which  are  decorated 
with  tapestry  intended  for  the  Theatre  Frangais,  worked  from  designs 
by  M.  Gallamet,  were  exhibited  the  productions  of  the  various  work¬ 
men  attached  to  the  manufactory,  works  by  apprentice  tapestry  makers, 
exhibits  from  the  studios  of  painting,  designs  by  Van  der  Meulen, 
chosen  from  the  numerous  collection  by  this  master  in  the  possession 
of  the  manufactory. 

On  a  slightly  raised  dais  to  the  right  were  three  carpets,  two  of 
which  are  manufactured  from  models  by  M.  Libert.  Along  the  walls 
were  stretched  ancient  tapestries  lent  by  the  church  of  St.  Remy  at 
Rheims,  which  illustrate  the  exceeding  skill  of  the  artists  at  the  work¬ 
rooms  in  darning  Gobelins  tapestry.  Two  pieces  of  tapestry  were  ex¬ 
hibited  there,  one  in  front  of  the  other,  after  having  passed  through  this 
workroom.  A  single  glance  was  sufficient  to  enable  one  to  appreciate 
the  work  done  by  these  clever  artists  on  the  wonderful  tapestries  in  the 
store-room. 

After  inspecting  a  piece  of  tapestry  on  the  left-hand  side  intended 
for  the  Odeon  Theatre,  “The  Apotheosis  of  Moliere,”  one  entered  a 
gallery  looking  on  to  the  square  of  the  Invalides,  where  the  latest  and 
most  valuable  productions  of  the  Gobelins  were  on  view.  To  the  left 
was  an  immense  hanging  after  Jean  Paul  Laurens,  begun  in  1895, 
finished  in  1899.  Like  M.  Ehrmann’s  tapestry,  the  Middle  Ages  were 
there  represented  in  quite  a  different  form.  Chivalry  was  the  emblem 
chosen,  the  representation  of  one  of  those  tournaments  of  which  the  old 
chroniclers  have  left  us  such  enthusiastic  description. 


37o 


THE  PARIS  EXPOSITION. 


The  decorative  qualities  of  this  tapestry  were  carried  to  the  highest 
pitch;  the  coloring  was  as  vivid  and  fresh  as  the  miniatures  of  an  illumi¬ 
nated  manuscript,  and  the  border  consisted  of  ornamental  designs  in 
harmony  with  the  principal  subject. 

In  a  second  gallery  one  saw,  stretched  on  a  repairing  panel,  the 
celebrated  tapestry,  “Portraits  of  Marie  Antoinette  and  her  Children,’’ 
ordered  by  the  late  President  M.  Felix  Faure  as  a  gift  for  the  Empress 
of  Russia.  Two  principal  artists,  Michel  and  Thuaire,  were  engaged 
upon  it  from  1896  to  March  22,  1900.  In  a  centre  gallery  hung  panels 
intended  for  the  Palace  of  Justice  at  Rennes.  In  another  gallery  ap¬ 
peared  “The  Siren  and  the  Poet,”  a  remarkable  specimen  of  work  by 
Moreau,  intended  for  the  Luxembourg  Museum.  A  collection  of  ex¬ 
quisite  hangings  in  the  next  gallery,  after  designs  by  Boucher,  showed 
that  the  modern  Gobelin  tapestry  artists  are  as  skilful  as  those  of  the 
last  century.  At  the  extreme  end  of  the  gallery  were  three  superb 
hangings,  intended  for  the  St.  Etienne  Tribunal  of  Commerce.  They 
represented  coal,  glass  and  silk,  and  consisted  of  symbolical  designs, 
by  Maignan,  in  delicate  modern  style,  prettily  surrounded  with 
branches  of  trees  and  flowers. 

The  Gobelins  workrooms  and  museum  constitute  one  of  the  his¬ 
toric  attractions  of  Paris.  They  are  situated  on  the  Avenue  Gobelins. 
The  establishment  was  founded  by  Henri  II.,  but  it  was  in  1662  that 
Louis  XIV.  installed  it  in  the  dye-works  of  the  Brothers  Gobelins, 
craftsmen  who  are  said  to  have  owed  much  of  the  success  of  their  pro¬ 
ductions  to  the  special  quality  of  the  water  of  the  Bievre,  the  little 
tributary  of  the  Seine  they  made  use  of  in  their  works. 

Louis  XIV.,  as  a  tapestry  in  the  Museum,  after  a  cartoon  by 
Le  Brun,  the  first  director  of  the  Gobelins,  shows,  had  not  only  tapes¬ 
tries,  but  the  furniture  for  the  royal  apartments  manufactured  at  the 


DECORATION  AND  FURNITURE. 


37* 


Gobelins.  Its  products  have  never  been  put  on  the  public  market,  but 
are  still  destined  exclusively  for  the  decoration  of  national  palaces. 
Special  commissions  from  private  persons  are,  however,  accepted  by 
the  director  by  permission  of  the  Minister  of  Public  Instruction.  These, 
however,  are  rare,  and  the  necessary  permission  is  difficult  to  get. 

Private  enterprise  has  never  been  able  to  compete  successfully  with 
the  Gobelins,  nor  to  produce  tapestries  as  there  executed  at  the  same 
prices  (from  $1,000  to  $1,250  a  square  yard),  even  when  employing 
workmen  formerly  employed  at  the  Gobelins.  The  establishment  in 
fact  could  not  subsist  but  for  its  State  subvention. 

In  1825  the  carpet-manufactory  known  as  La  Savonnerie  was  in¬ 
corporated  with  the  Gobelins.  It  had  been  founded  in  1604  by  Marie 
de  Medici  at  the  Louvre,  and  was  afterwards  transferred  to  a  former 
soap-factory  at  Chaillot,  whence  its  name.  The  so-called  Savonnerie 
carpets  rival  those  of  Persia. 

The  visitor  to  the  Gobelins  begins  with  the  Museum  to  the  left 
of  the  entrance.  The  tapestries  exhibited  here  came  from  the  Garde- 
Meubles,  or  from  private  bequest.  Their  origin  is  given  on  labels.  In 
the  case  of  the  oldest  pieces  it  has  not  always  been  possible  to  determine 
this.  Arranged  in  cases  around  the  rooms  of  the  Museum  are  found 
the  remains  of  many  of  the  ancient  and  historic  tapestries  that  have 
served  to  render  the  establishment,  and,  for  that  matter,  France, 
famous.  In  Room  1,  may  be  seen  “A  Herma,,,  after  a  design  by  Le 
Brun;  “Elijah  ascending  to  Heaven,”  after  Vouet;  “Passage  of  Molle 
Bridge/’  after  Raphael;  “The  Air”  or  “Juno,”  after  Le  Brun;  “Louis 
XIV.  receiving  Cardinal  Chigi,”  after  Le  Brun;  “The  Marriage  of 
Alexander  and  Campaspe,”  after  Coypel;  “The  Passage  of  the  Gran- 
icus,”  after  Le  Brun;  “Louis  XIV.  Visiting  the  Gobelins  Factories,” 
after  Le  Brun;  “The  Triumph  of  Apollo,”  after  Serembert. 


372 


THE  PARIS  EXPOSITION. 


Other  Rooms  contain  such  masterpieces  in  textile  art  as  “The 
Flemings  demanding  Peace  from  Clovis/’  a  Brussels  tapestry  of  the 
17th  century;  “Bulls  and  Animals  Fighting,”  after  Deportes;  “A  Blood¬ 
hound,”  after  Oudry;  “Verdure,”  a  foliage  pattern  of  the  16th  century, 
an  antique  Persian  carpet  which  the  donor  refused  to  sell  for  $10,000; 
“The  Death  of  Joab,”  after  Cerceau;  “Adoration  of  the  Magi,”  a 
Flemish  tapestry  of  the  15th  century;  “The  Annunciation,”  also  a 
Flemish  piece  of  the  15th  century;  “The  Kiss  of  Judas,”  a  Parisian 
taestry  of  the  16th  century;  “The  Months,”  after  Audrun. 

The  tapestries  of  the  Gobelins  factories  are  executed  on  looms, 
several  of  which  date  from  the  17th  century.  The  craftsman  sits  be¬ 
tween  the  web  and  his  model,  the  reverse  of  the  tapestry  being  turned 
towards  him.  He  is  therefore  obliged  to  rise  or  to  pass  a  mirror 
through  the  weft,  when  he  wishes  to  see  the  effect  of  his  work.  The 
piece  of  the  pattern  on  which  he  is  occupied  is  drawn  on  the  warp,  but 
the  workman  is  obliged  to  consult  his  model  frequently  as  he  chooses 
the  wools  from  the  basket  at  his  side.  A  good  and  quick  eye  for  color 
is  indispensable.  It  is  not  sufficient  to  be  able  to  discriminate  between 
the  various  shades.  The  designs  of  certain  modern  painters  are  ex¬ 
ecuted  in  large  decorative  masses,  which  have  to  be  interpreted.  Such 
interpretation  demands  artistic  knowledge  in  the  workman.  Many 
of  the  employes  belong  to  families  which  have  worked  in  the  Gobelins 
since  the  foundation  of  the  factory.  The  wages  are  not  extraordinary, 
but  the  workmen  are  lodged  in  the  factory,  and  have  little  gardens 
allotted  them  on  the  banks  of  the  Bievre. 

Two  or  three  workmen  are  occupied  at  each  loom.  The  most 
skilful,  called  the  “Chief  of  the  piece,”  executes  the  most  delicate  parts 
of  the  tapestry,  which  is  signed  by  him  alone.  Each  workman  com¬ 
pletes  on  an  average  about  forty  square  centimetres  of  tapestry  a  day, 


GERMAN  SECTION  PALACE  DES  INVALIDES. 


DECORATION  AND  FURNITURE. 


375 


amounting  to  rather  more  than  a  square  yard  in  a  year.  They  cannot 
work  by  artificial  light. 

A  Gobelins  tapestry  is  worth  from  about  $8,000  to  $30,000,  count¬ 
ing  the  cost  of  the  design,  the  workman’s  labor  and  the  value  of  the 
materials,  though  for  these  wool  is  used  more  largely  than  silk.  Val¬ 
uable  tapestries  in  process  of  completion  (1899-1900)  are  “Arrival  of 
Joan  of  Arc  before  Patay,”  after  Laurens;  “The  Arms  of  the  City  o? 
Bordeaux,”  after  Claude;  etc. 

Returning  now  to  the  M.  Picard  order  of  classification  one  enters 
the  space  of  the  Palace  devoted  to  Class  67,  or  exhibits  of  Stained 
Glass.  The  art  af  staining  glass,  which  was  so  much  practiced  during 
the  Middle  Ages,  had  almost  entirely  disappeared  since  the  17th  cen¬ 
tury.  It  is  owing  to  the  researches  made  by  Viollet  le  Due  and  his 
rivals  that  this  art  has,  within  the  last  fifty  years,  become  exceedingly 
prosperous.  The  fine  painted  windows  shown  among  the  exhibits 
of  this  Class  are  by  J.  P.  Laurens,  and  are  intended  for  the  chapel  of 
the  Chateau  de  Chaumont.  The  window  by  Luc  Ollivier  Mason  repre¬ 
sents  “The  Pilgrims  of  Emmaus,”  and  those  designed  by  Grasset  for 
the  Cathedral  at  Orleans,  “Joan  of  Arc.”  Among  other  specimens  the 
Exhibition  included  works  by  Maignan  and  other  distinguished  artists. 

Class  68  was  devoted  to  Wall  Papers  and  Paper  Hangings.  It  em¬ 
braced  many  highly  artistic  exhibits  of  paper-hangings,  materials  in 
their  original  states,  materials  used  in  the  printing  machines.  Brushes 
and  cloths  especially  suitable  to  paper-hangings.  Papers  of  all  kinds. 
Imitations  of  wood  and  of  leather.  Painted  or  printed  blinds.  A  fine 
exhibition  of  wall-papers,  some  in  light  colors,  others  in  darker  shades 
intended  to  imitate  tapestry,  etc. 

Then  one  came  to  Class  69,  devoted  to  Household  and  Art  Furni¬ 
ture.  Those  unaccustomed  to  deal  in  house  decoration  in  a  large 

18 


37$ 


THE  PARIS  EXPOSITION. 


way  can  have  little  idea  of  the  multidinous  exhibits  that  were  met  with 
in  this  section  of  the  Exposition.  Only  a  few  need  be  mentioned,  such 
as  sideboards,  bookcases,  tables,  beds,  toilet  tables,  chairs,  billiard 
tables,  and,  in  fact,  here  was  everything  that  goes  to  furnish  a  well- 
found  house,  be  it  a  public  building  or  a  place  of  family  residence. 
Special  attention  seemed  to  have  been  paid  to  grandeur  of  style  and  to 
pure  traditional  design,  with  a  strong  tendency  towards  the  Louis  XV. 
period,  and  the  fresh,  graceful,  and  cheerful  taste  which  marked  the 
reign  of  Louis  XV.  But  this  does  not  say  that  modern  art  did  not 
contain  some  remarkable  exhibits. 

Class  70  has  already  been  described.  Class  71  embraced  displays 
of  Temporary  Decoration  and  Upholsterers’  Work.  This  was  a  taste¬ 
ful  and  brilliant  exhibition  of  all  that  tends  to  make  the  inside  furnish¬ 
ings  of  a  house  luxuriant  and  comfortable.  In  decorative  upholstering 
there  were  some  particularly  rich  exhibits  by  celebrated  artists  in  that 
line.  What  was  known  as  the  Samaritaine  collection  showed  exclu¬ 
sively  modern  articles,  at  reasonable  prices,  intended  for  public  and 
private  rooms,  staircases,  lobbies,  entrance  halls,  etc. 

Class  72,  devoted  to  exhibits  of  Pottery  and  Porcelain,  found  a 
home  in  the  Palace  on  the  right  side  of  the  Place  Invalids,  and  in  the 
end  fronting  the  Seine.  The  craze  for  china  and  other  artistic  products 
of  clay,  which  has  been  steadily  increasing  for  a  decade,  not  only  in 
France  but  throughout  the  world,  was  surely  given  additional  impetus 
at  the  Exposition  of  1900.  Prosperous  manufacturers  from  every  na¬ 
tion  were  found  in  competition  in  the  pavilion  set  apart  for  the  dis¬ 
play  of  ceramics.  Skilled  artists  were  there  seen  to  have  adopted  new 
ideals  and  shapes,  and  to  have  endeavored  to  use  the  ceramic  clay,  with 
its  rich  coloring,  for  ornamental  sculpture,  panels,  bas-reliefs,  porticos, 
staircases,  etc.  These  innovations  were  demonstrated  in  the  remark- 


DECORATION  AND  FURNITURE. 


377 


able  exhibits  of  the  Bigol  Society,  the  firm  of  Muller,  and  the  porcelain 
manufactory  at  Choisy-le-Roi.  The  experiment  has  been  successfully 
made:  the  beautiful  and  lasting  material,  with  the  varied  hues  obtained 
by  firing,  is  admirably  adapted  to  the  internal  and  external  house  deco¬ 
ration  as  an  economical  method  of  introducing  color  into  dwelling  and 
business  houses.  It  is  not  more  expensive  to  decorate  the  front  of  a 
building  with  these  beautiful  baked  tiles  than  with  sculpture. 

The  National  Manufactory  of  Sevres  had  a  magnificent  display. 
Of  the  many  noticable  examples  of  recent  work  in  porcelain  none  were 
more  notable  than  the  superb  work  in  “biscuit,”  by  M.  Lache,  and 
among  these  the  chief  was  his  superb  “Fontaine  en  Biscuit”  (Fountain 
in  Biscuit).  It  was  regarded  as  one  of  the  finest  examples  of  the  re¬ 
sults  to  be  obtained  in  this  medium  which  has  ever  been  shown  to  the 
public.  The  composition  as  a  whole  is  most  spirited,  and  the  modelling 
of  individual  figures  is  beyond  criticism.  Moreover,  the  feeling  of 
“style”  which  pervades  the  whole  work  is  undeniable,  and  shows  the 
work  to  be  that  of  a  veritable  master. 

The  Royal  Copenhagen  Porcelain  Manufactory  and  the  Royal 
Berlin  Factory  had  splendid  displays  of  the  ceramic  art  in  their  re¬ 
spective  pavilions.  Of  the  magnificent  displays  of  Rookwood  ware 
made  by  the  United  States,  a  French  critic  had  this  to  say: 

“The  originality  and  versatility  of  our  cousins  across  the  Atlantic 
are  proverbial,  and  these  qualities  are  serving  them  to  good  purpose 
in  their  progress  in  Art  matters.  The  exhibit  of  the  Rookwood  Pot¬ 
tery  Company  is  an  example  in  point.  A  few  years  ago  Rookwood 
was  almost  an  unknown  product.  To-day,  no  European  collection 
would  be  considered  complete  without  examples  of  this  wonderful 
ware.  Not  content  with  their  laurels  already  won,  the  Company  are 
continually  making  fresh  departures.  Not  so  much  in  the  matter  of 


37» 


THE  PARIS  EXPOSITION. 


fanciful  shapes.  It  is  now  recognized  that  there  are  comparatively 
narrow  limits  which  bound  good  taste  in  this  direction,  but  in  the  field 
of  method  in  decoration  there  is  a  boundless  horizon. 

'‘The  Rookwood  Company’s  latest  departure  is  in  the  direction  of 
application  of  metals  to  their  works,  and  some  wonderfully  artistic  re¬ 
sults  have  been  arrived  at.  In  his  ‘Mistletoe,’  and  ‘Sea-horses,’  the 
artist,  Mr.  Wareham,  has  achieved  a  remarkable  success.  The  bronze 
decorations  are  extremely  beautiful.  The  group  by  Mr.  Daly  shows  his 
mastery  over  simple  forms  and  colors.  We  note  the  fine  and  dignified 
examples  of  Faience  shown  by  this  firm  with  great  pleasure.  Within 
their  self-imposed  limits  of  color,  they  have  produced  works  of  great 
simplicity  in  form,  which  are  in  the  best  taste.  The  beauty  of  most  of 
these  forms  is  unquestionable,  and  those  selected  for  illustration  being, 
we  hope,  typical,  will  give  some  idea  of  the  merit  of  these  productions. 
We  predict  a  still  further  popularity  for  work  on  such  sound  lines.” 

It  was  also  in  this  pavilion  of  decorative  art  that  one  found  the 
displays  of  Glass  and  Crystal,  which  composed  Class  73  of  the  Group. 
Here,  amid  a  most  striking  series  of  exhibits  of  ornamental  and  useful 
glass  work,  was  found,  on  the  second  story,  the  Crystal  Palace,  with  its 
myriad  of  reflections,  infinite  transparency  and  cross-rays  of  dazzling 
light.  All  the  effects  in  this  Class  were  of  a  resplendent  order. 

The  next  Class  of  the  Group,  Class  74,  found  a  home  on  the  quay 
Orsay  in  connection  with  the  Group  (XVIII.),  devoted  to  the  Army 
and  Navy.  This  Class  (74)  contained  displays  illustrative  of  Heating 
and  Ventilation.  It  will  be  found  described  in  its  place. 

Class  75,  the  last  Class  of  this  interesting  Group,  was  found  in  the 
large  gallery  of  the  Palace  of  National  Industries,  on  the  side  facing  the 
Street  Constantine.  It  was  particularly  interesting  from  technical, 
practical  and  artistic  points  of  view.  It  was  devoted  to  Apparatus  and 


1 


} 


PAVILION  OF  SERVIA. 


PAVILION  OF  MEXICO. 


DECORATION  AND  FURNITURE, 

Processes  employed  in  Lighting,  other  than  Electric  Lighting.  Elec¬ 
tricity  of  late  years  has  gone  ahead  with  such  leaps  and  bounds,  has 
become,  in  fact,  so  all-pervading  in  the  world  of  artificial  light,  that  it 
had  to  be  taken  care  of  in  a  section  of  a  building  by  itself.  But  here 
in  this  decorative  centre  were  to  be  seen  those  various  methods  of 
lighting  by  means  of  vegetable  and  mineral  oils,  petroleum,  shale,  thick 
oil,  spirits,  etc.,  and  the  receptacles  and  accoutrements  for  these  oils, 
lamps,  burners,  wicks,  lamp  chimneys,  and  all  that.  There  was  appa¬ 
ratus  for  domestic,  industrial  and  public  lighting.  The  next  sub-section 
was  devoted  to  lighting  by  means  of  gas,  and  here  too  were  lamps  in 
great  variety,  burners  innumerable,  chimneys  not  to  be  counted,  flat 
flame,  Argand,  incandescent  burners,  until  one’s  head  turned  dizzy. 
Fittings  covered  a  vast  space,  gas  lighters  and  lighting  torches  as 
numerous  as  fallen  leaves  in  autumn,  and  one  saw  a  magnificent  coflec¬ 
tion  of  globes  in  all  shapes  and  sizes,  shades  in  all  colors,  reflectors, 
screens,  and  even  smoke  consumers.  Acetylene  had  been  selected  for 
lighting  a  portion  of  the  quays  on  the  Seine,  and  the  complete  success 
of  the  experiment  enables  one  to  appreciate  this  new  discovery,  which 
has  already  met  with  great  approbation  in  Germany,  Austria,  Hungary, 
and  America.  Lighting  by  acetylene  is  nearly  fifty  per  cent,  cheaper 
than  gas,  and  the  brilliancy  of  its  light  is  unequalled.  Incandescent 
spirit  lighting  was  also  shown  to  have  been  very  considerably  improved, 
and  that  it  is  quite  capable  of  taking  the  place  of  gas  for  lighting 
houses,  offices,  and  even  streets,  at  a  very  reduced  expenditure.  This 
group  (Group  XII.),  devoted  to  decoration  and  furniture  of  public 
buildings  and  of  dwelling  houses  took  up  a  good  half  of  tKe  great 
building  that  stood  to  the  left  of  the  Esplanade  des  Invalides. 

Close  by  the  portion  of  the  Palace  which  housed  Class  75,  stood 
the  small  pavilions  and  cottages  which  contained  exhibitions  from 


THE  PARIS  EXPOSITION. 


382 

some  of  the  provinces  of  France,  especially  Breton.  The  entrance  to 
the  Breton  exhibition  was  under  a  triumphal  arch,  an  exact  replica  of 
the  gate  of  the  Martyrs’  Cemetery,  near  Landerau.  On  the  second 
floor  of  this  pavilion  the  Breton  painters,  poets,  musicians  and  literary 
men  met  and  held  their  enjoyable  symposiums. 

As  has  been  said,  the  great  Palace  on  the  right  of  the  Place  In¬ 
valids  was  devoted  to  foreign  exhibits  of  Groups  XII.  and  XV.,  kin¬ 
dred  groups.  The  foreign  nations  exhibiting  there,  and  the  character 
of  their  displays,  will  be  found  described  in  connection  with  Group  XV., 
or  that  devoted  to  Various  or  Diversified  Industries,  which  Group  oc¬ 
cupied  the  southern  half  of  the  Palace  of  National  Industries,  or  that 
part  of  it  designated  as  the  Palace  of  Diversified  Industries. 


Threads,  Yarns,  Textile  Fabrics,  Clothing. 


S  already  in  part  described,  the  left,  or  eastern,  side  of  the 
Champ  de  Mars  (Camp  of  Mars)  was  occupied  by  a  splen¬ 
did  palatial  structure  extending  from  the  Eiffel  Tower 
grounds  to  the  Palace  of  Electricity.  This  magnificent 
structure  was  really  composed  of  three  Palaces,  each  with 
its  special  facade  effects,  on  both  the  front  upon  the  Champ 
de  Mars  and  the  rear  upon  the  Avenue  Bourdonnais.  Each  of  the  three 
Palaces  was  dedicated  to  a  different  group  of  Exhibits.  The  first  on  the 
left  was  the  Palace  of  Mines  and  Metallurgy;  the  second  was  the  Palace 
of  Threads,  Yarns,  Textile  Fabrics  and  Clothing;  the  third  was  the  Pal¬ 
ace  of  Mechanics. 

One  was  now  about  to  visit  the  second  and  largest  of  these  impos¬ 
ing  Palaces,  that  of  Threads,  Yarns,  Textile  Fabrics  and  Clothing.  It 
opened  in  its  centre  by  a  vast  rounded  bay  with  a  vestibule  sur¬ 
mounted  by  a  cupola  decorated  with  paintings  in  vivid  tones,  and  bor¬ 
dered  by  a  circular  frieze,  on  which  the  name  of  the  Palace  stood  out  in 
large,  bold  letters  of  gold.  The  upper  part  of  the  dome  of  the  Palace 
was  of  glass  and  illuminated  at  night,  producing  a  brilliant  and  pleasing 
effect.  Indeed  all  of  the  domes  and  cupolas  in  the  Champ  de  Mars 
were  in  fact  transformed  after  dark  into  gigantic  illuminated  displays. 

The  interior  spaces  and  halls  of  this  Palace  were  numerous  and  ad¬ 
mirably  arranged  for  their  purposes.  In  them  one  saw  with  admiration 
the  ingenuity  and  perfection  of  M.  Picard’s  plan  of  arranging  exhibits 
with  reference  to  the  juxta-position  of  associate  groups  and  classes. 
Here,  even  more  clearly  than  in  some  other  groups,  the  raw  material  was 

383 


3^4 


THE  PARIS  EXPOSITION. 


seen  side  by  side  with  the  manufactured  article,  and  the  entire  processes 
from  the  raising  of  products  to  their  completion  for  man’s  uses  could 
be  distinctly  traced. 

The  group — Group  XIII — of  Threads,  Yarns,  Textile  Fabrics  and 
Clothing  was  sub-divided,  according  to  the  M.  Picard  classification,  into 
the  following  classes,  whose  numbers  began  where  those  of  Group  XII 
ended : 

Class  76.  Appliances  and  Processes  of  Spinning  and  Rope-making. 

Class  77.  Plant  and  Processes  employed  in  the  manufacture  of  Tex¬ 
tile  Fabrics — Woven  Goods. 

Class  78.  Appliances  and  Processes  used  in  Bleaching,  Dyeing, 
Printing  and  Finishing  Textile  Materials  in  their  Different  Stages. 

Class  79.  Appliances  and  Processes  used  in  Sewing  and  in  Making 
Wearing  Apparel. 

Class  80.  Cotton  Thread  and  Fabrics. 

Class  81.  Threads  and  Fabrics  of  Flax,  Hemp,  etc. — Cordage. 

Class  82.  Woolen  Yarns  and  Fabrics. 

Class  83.  Silks  and  Silk  Fabrics. 

Class  84.  Lace,  Embroidery  and  Trimmings. 

Class  85.  Tailoring,  Dress-making  and  Clothing  for  Men,  Women 
and  Children. 

Class  86.  Various  Trades  connected  with  Clothing. 

It  will  be  seen  that  this  was  one  of  the  most  comprehensive  classifi¬ 
cations  of  the  entire  Exposition,  as  it  was  one  of  the  most  interesting  of 
the  Groups.  As  was  to  have  been  expected,  the  classes  embracing  ma¬ 
chinery,  especially  of  the  heavier  kind,  and  also  products  of  the  weight¬ 
ier  and  bulkier  sort,  were  found  upon  the  ground  floor  of  the  Palace, 
while  those  of  smaller,  lighter  and  daintier  form  were  found  upon  the 
first  floor  (second  story).  The  general  interior  arrangement  of  the  Pal¬ 
ace,  for  both  ground  and  first  floor,  was  into  these  grand  show  halls, 


THREADS,  YARNS,  ETC. 


one  running  along  the  right,  or  Champ  de  Mars,  side,  the  second  running 
through  the  centre,  and  the  third  running  along  the  Avenue  Bourdon- 
nais  side. 

Class  76 — the  first  class  of  the  group  (Group  XIII),  was  found  on 
the  ground  floor.  It  embraced  the  appliances  and  processes  for  spin¬ 
ning  and  rope-making.  These  included  machinery  employed  in  the 
preparing  and  spinning  of  textile  materials  in  general,  an  immensely 
large  and  instructive  exhibit.  It  was  accompanied  by  exhibits  of  the 
appliances  and  processes  used  in  the  operations  following  that  of  spin¬ 
ning,  such  as  the  spooling,  winding,  twisting,  throwing  and  mechanical 
finishing  of  goods.  The  separate  parts  of  a  full  spinning  plant  were 
shown  in  detail,  so  that  all  their  delicate  and  intricate  mechanism  might 
be  inspected,  together  with  the  ingenious  and  complicated  machinery 
used  in  their  manufacture,  and  a  variety  of  apparatus  for  testing,  assort¬ 
ing  and  numbering  materials  and  products.  An  unusually  fine  exhibit 
showed  the  special  attention  that  had  been  paid  to  the  plant  used  in  cord¬ 
age  factories. 

In  the  central  hall  of  the  ground  floor  of  the  Palace  were  found  the 
exhibits  of  the  next  class — Class  77 — or  the  class  devoted  to  the  Plant 
and  Processes  employed  in  the  Manufacture  of  Textile  Fabrics,  that  is 
Woven  Goods.  Here  appeared  interesting  exhibits  of  apparatus  used 
*  in  operations  preliminary  to  weaving,  embracing  many  varieties  of  warp¬ 
ing  machines  and  cop-winders.  These  were  accompanied  by  reading 
in  and  repeating  machines;  hand  and  power  looms  for  manufacturing 
plain  fabrics ;  looms  for  the  weaving  of  figured  and  brocaded  stuffs,  and  a 
surprising  variety  of  box  looms.  The  class  ended  with  a  line  of  exhibits 
of  knitting  machines  for  hosiery,  and  those  for  making  lace,  tulle  and 
fancy  trimmings.  While  this  class  did  not  cover  so  much  space  as  some 
others,  its  inspection  proved  to  be  most  interesting  and  enjoyable. 

Class  78,  or  that  devoted  to  Appliances  and  Processes  used  in 


386 


THE  PARIS  EXPOSITION. 


Bleaching,  Dyeing  and  Finishing  Textile  Materials  in  their  Different 
Stages,  was  also  found  upon  the  ground  floor,  and  in  the  left-hand  hall, 
upon  the  Avenue  Bourdonnais  side  of  the  Palace.  The  ground  floor 
exhibits  embraced  the  heavier  machinery  represented  in  the  Class. 
Four  rooms  in  the  second  story  were  also  devoted  to  exhibits  of  the 
Class,  chiefly  those  of  lighter  weight  and  greater  fineness.  On  entering 
the  space  allotted  to  the  Class,  one  began  with  views  of  apparatus  for 
singeing,  brushing,  and  cropping  textile  fabrics,  as  well  as  those  used 
for  washing  in  ley,  scouring,  washing,  drying,  moistening  the  various 
textile  materials  in  their  different  stages,  and  for  boiling,  and  for  colors 
and  thickenings.  Here,  too,  were  found  tools  and  appliances  used  for 
the  preparation  of  patterns  for  printing  on  stuffs,  and  machinery  for 
starching,  dying,  and  printing  the  stuffs,  together  with  steam  apparatus 
in  great  variety.  All  kinds  of  machinery  for  finishing  was  found,  rais¬ 
ing  machines,  drying  machines,  and  tenter  frames,  calenders,  glazing, 
watering,  embossing  and  beetling  machines,  and  others  for  measuring 
and  folding,  and  all  the  things  needed  for  the  finishing  of  textile  mater¬ 
ials.  There  were  appliances  used  for  dyeing  silks,  machines  for  beat 
ing,  shaking  up,  stringing,  and  lustreing.  There  were  scouring  bowls, 
and  appliances  for  speckling  and  for  bleaching  by  electricity.  Laundry 
work  was  then  shown,  and  the  washing  in  ley,  the  rinsing,  the  drying, 
ironing,  and  getting  up.  Here  too  were  the  processes  for  cleaning  by 
dry  process  with  benzine,  and  its  homologues,  as  well  as  for  cleaning  by 
wet  process,  dyeing  and  pressing. 

Another  section  of  this  class  was  handed  over  to  specimens  of 
bleached  or  dyed  textile  material  before  being  spun.  There  were 
specimens  of  yarn  or  thread  of  cotton,  linen,  wool,  silk  and  so  forth, 
whether  these  were  pure  or  mixed,  bleached,  dyed  or  speckled.  Here, 
too,  were  specimens  of  textile  fabrics,  bleached,  dyed  and  printed. 


THREADS,  YARNS,  TEXTILE  FABRICS,  CLOTHING. 


387 


There  were  prepared  yarns  and  threads,  specimens  of  chemical  cleaning 
of  textile  materials  before  being  spun,  or  as  fabrics. 

The  next  Class  to  be  visited  in  order  was  Class  79,  devoted  to  Ap¬ 
pliances  and  Processes  used  in  Sewing  and  Making  of  Wearing  Ap¬ 
parel.  It  began  with  a  display  of  common  implements  of  sewing  and 
needle  work,  and  machines  for  cutting  stuffs,  skins  and  leather,  and 
those  for  sewing,  stitching,  seaming,  and  embroidery.  Then  one  found 
machines  for  making  buttonholes,  ingenious  ones  for  sewing  gloves,  for 
plaited  straw  for  hats,  for  leather  sewing  and  boot  and  shoe  making. 
There  was  an  exhibit  of  flat  irons  and  stands,  of  busts  and  manikins  for 
trying  on  clothes,  and  machines  for  preparing  separate  parts  of  boots 
and  shoes,  and  for  sewing  upper-leathers  and  soles,  for  pegging,  screw¬ 
ing  and  nailing  boots  and  shoes;  and  the  exhibit  wound  up  with  ma¬ 
chines  for  making  hats  of  straw,  felt,  and  other  material. 

On  the  second  story  were  found  the  exhibits  of  Class  80 — the  class 
devoted  to  Cotton  Thread  and  Fabrics.  Here  were  found  prepared  and 
spun  cotton,  and  cotton  fabrics,  pure,  mixed,  plain,  figured,  unbleached, 
dyed  or  printed,  cotton  velvet,  velveteen,  cotton  tapes  and  ribbons,  and 
a  great  collection  of  counterpanes;  and  naturally  the  United  States, 
Great  Britain,  and  other  great  manufacturing  countries  of  the  world, 
showed  up  to  great  advantage  in  this  section  of  the  Exhibition. 

On  the  second  story,  the  gallery  along  the  Champ  de  Mars  side  of 
the  Palace  was  devoted  entirely  to  Class  81 — the  Class  embracing  ex¬ 
hibits  of  Threads  and  Fabrics  of  Flax,  Hemp,  etc.,  and  Cordage  in 
general;  that  is  unbleached,  bleached  or  dyed  yarns  and  threads,  and 
unbleached,  bleached,  dyed,  printed  and  prepared  fabrics.  There  were 
shown  first  the  threads  of  flax,  of  hemp,  of  jute,  of  Ramie  and  other 
vegetable  fabrics.  Then  came  plain  or  figured  canvas,  ticking,  damask 
linen,  cambrics  and  lawns,  and  these  were  followed  by  plain  and  fancy 


3  88 


THE  PARIS  EXPOSITION. 


handkerchiefs,  fabrics  of  flax  or  hemp  mixed  with  cotton  or  silk,  and 
fabrics  made  of  vegetable  fibres  other  than  cotton,  flax,  hemp,  jute  and 
ramie.  At  the  end  of  this  class  came  the  fine  display  of  cordage,  com¬ 
prising  cables,  ropes,  and  strings  of  every  thickness,  strength,  and 
variety. 

On  the  same  story  was  found  Class  82,  devoted  to  Woolen  Yarns 
and  Fabrics.  Here  one  saw  in  great  profusion  and  neat  arrangement 
combed  wool  and  wool  yarns,  carded  wool,  ravelled,  unbleached  or 
dyed  and  carded  wool  yarn,  and  the  clothes  made  of  combed  or  carded 
wool.  There  were  fabrics  for  ladies’  mantles  and  costumes,  dress  ma¬ 
terials  in  combed  or  carded  wool,  in  wool  mixed  with  cotton  or  silk. 
There  were  muslins,  Scotch  tweeds,  merinos,  China  silks,  serges  and 
fabrics  of  carded  wool,  in  wool  mixed  with  cotton  or  silk.  There  were 
muslins,  Scotch  tweeds,  merinos,  China  silks,  serges  and  fabrics  of 
carded  wool,  unmilled  or  slightly  milled,  flannels,  tartans  and  molletons. 
There  were  knitted  stuffs  in  combed  or  carded  wool,  shawls  of  wool, 
some  pure,  some  mixed,  lovely  Cashmere  shawls,  then  ribbons  and 
braids  of  wool,  these  also  pure  and  mixed  with  cotton  or  flax,  silk  or 
floss  silk.  There  were  hair  fabrics,  pure  or  mixed,  marvellous  blankets 
and  felts  of  wool  or  hair  for  carpets,  hats,  boots  and  shoes  of  wool. 

The  next  Class  to  be  visited  was  the  rich  and  gorgeous  one  of 
Class  83,  devoted  to  exhibits  of  Silks  and  Silk  Fabrics.  The  silk  fabrics 
representing  French  exhibits  of  this  class  were  divided  into  three  sec¬ 
tions,  Lyons,  St.  Etienne  and  Paris.  The  latter  was  contained  in  a  cen¬ 
tral  pavilion  fitted  up  in  the  Empire  style.  Here  one  was  able  to  see 
the  silk  worm  at  its  work,  and  to  watch  its  progress  through  the 
various  phases  of  its  existence,  from  chrysalis  to  moth — and  to  study 
the  many  processes  of  silk  weaving.  There  were  gorgeous  displays  of 
silk  raw,  thrown,  twisted,  of  floss  silk  and  silk  waste,  threads  of  floss 


PALACE  OF  THE  CITY  OF  PARIS. 


PAEACE  OF  THE  DUTCH  INDIES. 


THREADS,  YARNS,  TEXTILE  FABRICS,  CLOTHING.  39* 

silk  or  silk  waste;  artificial  silk,  too,  had  shoved  its  way  among  the 
purer  goods.  There  were  fabrics  of  silk,  pure,  floss  or  waste,  silk  or 
floss  silk  mixed  with  gold,  silver,  wool,  cotton,  and  so  forth,  and  these 
were  plain,  figured,  or  brocaded,  some  of  them  unbleached,  others 
dyed,  and  many  printed.  Then  came  velvet  and  plush  and  ribbons  of 
silk  or  floss  silk,  both  pure  and  mixed,  and  shawls  of  silk  or  floss  silk; 
and  these,  too,  some  of  them,  being  pure,  and  some  of  them  mixed. 

Class  84 — Lace  Embroidery  and  Trimmings — was  most  compre¬ 
hensive  in  its  character,  embracing  a  series  of  exhibits  of  every  known 
variety  of  lace,  also  spangled  muslins  and  gauzes,  besides  Church  vest¬ 
ments,  window  curtains,  etc.  It  began  with  hand-made  lace,  blondes 
and  guipures,  pillow  made,  worked  with  needle  or  crocheted,  made  of 
flax,  cotton,  silk,  wool,  gold,  silver  or  other  thread.  Then  there  were 
the  machine-made  lace,  tulle,  plain  or  embroidered,  imitation  lace, 
blondes  and  guipures  made  of  all  kinds  of  thread.  Next  came  hand¬ 
worked  embroidery,  needle  and  crochet  embroidery,  worked  with  all 
kinds  of  thread  on  all  kinds  of  grounds  (fabric,  net,  tulle,  skin,  etc.),  in¬ 
cluding  cross-stitch  on  canvas,  and  also  embroidery  applique  with  pre¬ 
cious  stones,  pearls,  jet,  spangles,  feathers,  shells.  There  was  frame 
embroidery  made  by  patent  machines,  with  ground  retained  or  with 
ground  destroyed  by  cutting  or  burning.  In  the  trimming  depart¬ 
ment  were  galloons,  plain  or  twisted  braids,  fringes,  tassels  and  all 
kinds  of  ornamental  and  applique  work,  made  by  hand  or  on  the  loom 
for  millinery  and  mantles,  clothing,  and  ecclesiastical  vestments,  mili¬ 
tary  and  civil  uniforms,  furniture,  saddlery,  and  carriages.  There  were 
metal  threads  or  plates,  gold  and  silver,  real  or  imitation,  spangles, 
chenilles  and  all  special  articles  employed  for  trimmings.  Church  em¬ 
broidery  had  a  special  section  to  itself.  Here  the  visitor  found  church 
ornaments  and  linen,  altar  cloths,  church  banners,  and  draperies  of 


392 


THE  PARIS  EXPOSITION. 


fabrics  trimmed  with  lace,  embroidery  and  braiding.  Then  came  lace 
curtains,  guipure,  embroidery  on  tulle  or  fabrics,  all  kinds  and  condi¬ 
tions  of  blinds,  screens,  door  and  mantel  hangings,  and  many  different 
varieties  of  draperies  trimmed  with  lace,  embroidery,  braiding  and 
fringes. 

Quite  appropriately  next  to  lace  embroidery  and  what  not  was 
placed  perfumery,  which  really  constituted  Class  90  of  Group  XIV.,  or 
that  group  devoted  to  Chemical  Industries.  In  the  manufacture  of 
perfumery,  as  every  one  knows,  the  French  greatly  excel,  and  they 
made  this  feature  of  the  Exhibition  a  delightful  one.  First  the  visitor 
naturally  inspected  the  raw  materials  from  which  perfumery  is  dis¬ 
tilled,  such  as  essences,  infusions  of  flowers  in  fats,  concentrated  per¬ 
fumes  obtained  by  solvents,  distilled  water,  and  other  things,  a  special 
department  being  devoted  to  raw  materials  of  French  origin,  and 
another  section  to  raw  or  prepared  imported  from  abroad.  Then  came 
the  machinery  and  the  appliances  that  are  used  in  the  distilling  of  per¬ 
fumery.  Here  were  the  crushing  and  pounding  machines,  the  appli¬ 
ances  for  infusion,  the  presses,  pomatum  and  soap  mixers,  pestles  and 
mortars,  and  many  curious  but  useful  vessels.  Last  came  the  products 
of  these  plants  and  materials  in  the  shape  of  soaps,  toilet  waters,  scented 
oils,  pomatums,  scents,  sachets,  extracts  and  perfumes,  scented  pow¬ 
ders,  dentifrices,  toilet  vinegars,  hair  powders,  cosmetics,  hair  dyes,  and 
a  thousand  and  one  forms  such  products  take  under  skilled  chemistry 
and  ingenious  manipulation. 

Class  85,  devoted  to  Tailoring,  Dressmaking  and  Clothing  for 
Men,  Women  and  Children,  was  specially  attractive  to  ladies,  since  it 
contained  among  other  things  the  exhibits  of  the  great  dressmakers. 
The  whole  of  the  processes  of  the  making  of  clothes  was  there  gone 
thoroughly  into.  There  were  the  clothes  made  to  measure  for  men  and 


THREADS,  YARNS,  TEXTILE  FABRICS,  CLOTHING. 


393 


boys,  not  only  ordinary  suits,  but  shooting,  hunting,  and  riding  cos¬ 
tumes,  as  well  as  leather  breeches,  and  similar  articles  of  men’s  attire. 
There  were  costumes  for  gymnastic  exercises  and  games.  There  were 
naval,  military,  and  civil  uniforms,  robes  for  magistrates  and  civic  dig¬ 
nitaries,  barristers,  and  professors,  ecclesiastical  vestments,  liveries,  and 
many  different  costumes  for  children.  Ready-made  clothing  for  men 
and  boys  was  also  shown,  as  well  as  clothing  made  to  measure  for 
women  and  girls,  that  is  to  say,  dresses,  vests,  jackets,  mantles  (made  by 
ladies’  tailors,  dressmakers,  mantlemakers).  There  were  riding  habits 
and  sporting  costumes,  and  ready-made  clothing  for  women  and  girls, 
and  in  this  class  there  were  many  artistically  shaped  models. 

Connected  with  Class  85  was  an  interesting  Centennial  Museum, 
full  of  antique  curiosities,  among  which  was  the  first  French  sewing 
machine,  made  by  Thimonier  in  1830.  There  was  also  a  Retrospective 
Museum,  which  occupied  a  conspicuous  site  in  the  centre  of  the  Palace, 
between  the  two  porches  of  the  Avenue  Bourdonnais  and  the  Champ 
de  Mars.  It  was  fitted  up  with  perfect  taste,  and  was  a  complete 
museum  of  dress  and  its  accessories  from  the  18th  century  to  the 
Second  Empire,  as  shown  both  in  the  costumes  of  the  period  and  by 
portraits.  Rich  antique  silks  were  grouped  in  the  reproduction  of  the 
Courts  of  Louis  XVIII.  and  Charles  X.  It  goes  without  saying  that 
there  were  many  historical  costumes,  among  others,  Talleyrand’s  uni¬ 
forms.  The  collection  of  Prince  Murat’s  portraits  was  worthy  of  atten¬ 
tion.  The  idea  was  to  give  a  picture  of  French  costume  during  the 
century,  and  provincial  costumes  were  therefore  included.  Fans, 
gloves,  head-dresses,  canes,  and  umbrellas  were  grouped  in  cases. 
There  were  among  them  some  curious  and  rare  exhibits.  The  Museum 
of  costume  was  decorated  by  four  admirable  Gobelin  tapestries,  and 
with  posters  by  Cheret  and  Grasset. 


394 


THE  PARIS  EXPOSITION. 


Class  86,  devoted  to  Various  Trades  connected  with  Clothing,  was 
of  great  industrial  and  commercial  interest.  It  began  with  hats  made 
of  felt,  wool,  straw,  and  silk,  and  caps  and  hat  trimmings.  Then  came 
artificial  flowers  for  headgear,  dresses,  and  for  all  other  purposes.  There 
was  an  eye-taking  display  of  feathers,  and  ladies  were  particularly  in¬ 
terested  in  the  gorgeous  spread  of  millinery,  not  to  mention  that  which 
followed — false  hair.  After  this  came  shirts  and  underclothing  for  men, 
women  and  children,  then  hosiery  of  cotton,  wool,  silk  and  floss  silk. 
There  was  knitted  hosiery,  and  a  special  department  devoted  to  ties 
and  socks.  The  same  could  be  said  of  corset  fittings,  elastics,  braces, 
garters  and  belts,  and  a  splendid  exhibition  of  gloves.  One  then  came 
to.  boots  and  shoes  for  men,  women  and  children.  Here  were  top  boots, 
ankle  boots,  shoes,  bedroom  slippers,  goloshes,  soles,  and  other  acces¬ 
sories  of  boots,  and  a  special  display  of  gaiters.  Adjoining  these  were 
whips,  sticks,  sunshades,  umbrellas,  and  a  display  of  buttons  of  china, 
metal,  cloth,  and  silk,  mother  of  pearl  and  other  shell,  corozo,  horn  and 
bone,  papier  mache,  buckles,  eyelets;  fans  and  hand  screens  finished 
this  class,  the  last  class  of  Group  XIII.,  and  one  of  the  most  interesting 
and  striking  of  all  the  Groups  of  the  Exposition. 


PAVILION  OF  GREECE. 


PAVILION  OF  DENMARK, 


Chemical  Industries. 


HE  third  and  last  of  the  three  great  Palaces  whose  I  icades 
overlooked  the  right,  or  west,  side  of  the  Chi  k^.p  de 
Mars  (Camp  of  Mars)  and  whose  rears  fronted  cT  Ave¬ 
nue  Suffren,  was  the  Palace  of  Chemical  Industries. 
While  this  Palace  had  its  special  exterior  lines,  its  gen¬ 
eral  architectural  effects  comported  with  those  of  the  other  Palaa  s  on 
that  side  of  the  Champ  de  Mars,  so  that  the  ensemble  was  that  of  a  sf  ngle 
grand  Palace  extending  from  the  Eiffel  Tower  Grounds  to  the  Pala  :e  of 
Electricity.  Its  interior  was  effectively  arranged  for  the  accommoda¬ 
tion  and  display  of  the  Chemical  Industries  of  the  respective  comp  iting 
nations. 

The  group — Group  XIV — whose  exhibits  were  shown  in  this  Pal¬ 
ace,  fell,  according  to  the  M.  Picard  classification,  into  the  folia  ving 
classes,  their  numbers  beginning  where  those  of  classes  of  the  prior 
group — Group  XIII — left  off : 

Class  87.  Applied  Chemistry  and  Pharmacy. 

Class  88.  Manufactures  of  Paper. 

Class  89.  Leather  and  Skins. 

Class  90.  Perfumery. 

Class  91.  Manufacture  of  Tobacco  and  Matches. 

Two  of  the  above  classes,  Classes  90,  91,  did  not  find  a  home  In  the 
Palace  of  Chemical  Industries,  nor  along  with  the  other  classes  of  the 
group.  With  some  this  might  have  been  regarded  as  an  exception  or 
defect,  but  it  was  in  reality  only  another  evidence  of  the  skill  manifested 
by  M.  Picard  in  keeping  nearly  allied  groups  in  proximity  with  one 
another.  Thus,  Class  90,  or  that  o  f  Perfumery,  was  found  on  the  op- 

397 


19 


39s 


THE  PARIS  EXPOSITION. 


posite  side  of  the  Champ  de  Mars,  in  the  Palace  of  Threads,  Yarns,  Tex¬ 
tile  Fabrics  and  Clothing,  and  dedicated  to  a  capacious  and  showy  space 
therein,  lying  directly  between  Class  79  and  Class  84,  that  is  to  say,  be¬ 
tween  the  class  embracing  Appliances  and  Processes  used  in  the  Sewing 
and  Making  of  Wearing  Apparel,  and  that  embracing  Lace,  Embroidery 
and  Trimmings.  A  very  unique  arrangement  this  was  indeed,  and 
especially  convenient  and  pleasing  for  lady  visitors,  for  it  removed  for 
them  a  favorite  article  of  the  toilet  out  of  the  unattractive  realm  of 
chemistry,  and  transported  it  to  a  daintier  realm  associated  with  the 
articles  of  ornament  and  wear  upon  which  it  was  used.  The  same  was 
true  in  a  measure  of  Class  91 — Manufacture  of  Tobacco  and  Matches — 
which  was  found  in  the  Palace  of  National  Manufactures  on  the  Esplan¬ 
ade  of  Invalids. 

With  this  understanding  of  the  situation  one  was  prepared  for  an 
intelligent  inspection  of  the  Palace  of  Chemistry.  The  first  class  of  the 
group — Class  87 — was  devoted  to  Applied  Chemistry  and  Pharmacy. 
It  was  found  on  the  ground  floor  of  the  Palace,  and  on  the  right  centre. 
At  the  beginning  one  found  a  splendid  showing  of  laboratory  apparatus 
and  utensils,  enameller’s  lamps,  blow-pipes,  drying  ovens,  filters  and 
electric  furnaces.  Then  came  a  variety  of  curious  instruments  and  appli¬ 
ances  for  testing  commercial  products  of  chemistry.  Following  these 
were  appliances  and  processes  used  in  the  production  by  electrolysis  of 
hydrogen,  peroxide,  chlorine,  hypochlorites,  clorides,  soda  and  various 
other  chemicals. 

Following  these  came  the  appliances  employed  in  the  manufacture 
of  vegetable  essences,  varnishes,  commercial  India  rubber,  and  its  sub¬ 
stitutes,  and  gutta  percha  articles.  Then  there  were  the  appliances 
and  processes  employed  in  treating  mineral  substances  used  for  light¬ 
ing,  heating,  or  lubricating.  Coal,  petroleum,  ozokerite,  etc.,  were 
found  here,  and  further  on  the  appliances  and  processes  used  in  the 


CHEMICAL  INDUSTRIES. 


399 


chemical  or  electrical  treatment  of  waste  water  for  factories,  for  purify¬ 
ing  them  with  a  view  to  the  return  to  the  river,  and  the  plant  used  in 
charcoal  works,  and  in  the  manufacture  of  charcoal  derivatives,  methy¬ 
lated  spirit,  acetic  acid,  and  tar,  those  processes  employed  for  press¬ 
ing  and  liquefying  gases  for  manufacturing  artificial  textile  fabrics,  and- 
those  used  in  the  manufacture  of  pharmaceutical  products.  A  second 
section  of  this  class  was  devoted  to  acids,  alkalis,  and  all  kinds  of  salts, 
refined  sulphur,  phosphorous,  hydrogen  peroxide  and  ozone,  sea  salt, 
and  products  and  the  treatment  of  natural  or  mineral  waters,  together 
with  the  various  products  of  chemical  industries,  such  as  wax  and 
fatty  substances,  soap,  candles,  glycerine,  resin,  tar  and  its  derivatives, 
glue,  and  gelatine,  spirit,  varnish,  various  glazes,  printing  inks,  and 
blacking.  Next  followed  commercial  india  rubber,  dyes  and  pigments, 
by-products  obtained  from  the  treatment  of  mineral  substances  used  for 
lighting,  heating,  or  lubricating,  petroleum  and  paraffin  could  be  seen. 
The  products  of  charcoal,  burning  diluted  alcohols  for  industrial  pur¬ 
poses,  liquefied  gases,  artificial  textile  fabrics,  and  simple  and  compound 
drugs  were  in  abundance. 

In  connection  with  this  Class  was  a  Centennial  exhibit  containing 
a  very  interesting  collection  of  instruments  and  original  documents 
bequeathed  by  great  chemists  of  the  past,  among  them  being  Pasteur’s 
favorite  microscope.  The  Class  throughout  was  a  very  impressive  one, 
reminding  one  of  a  great  laboratory  in  which  some  alchemist  had 
gathered  together  all  his  various  utensils. 

The  next  Class  of  the  Group  was  Class  88,  devoted  to  the  Manu¬ 
facture  of  Paper.  Tbe  exhibits  began  with  a  collection  of  raw  materials 
employed  in  the  manufacture  of  paper  and  cardboard.  Then  came  the 
plant  and  processes  used  in  the  manufacture  of  hand-made  paper.  The 
apparatus  and  process  for  making  the  plup,  for  sorting,  picking,  cut- 


400 


THE  PARIS  EXPOSITION. 


ting,  washing,  ley-washing,  rinsing  and  draining,  bleaching  and  wast¬ 
ing,  refining,  size  coloring,  and  loading  of  rag  pulp.  Following  this 
came  straw  pulp,  and  Esparto  pulp,  sorting,  crushing,  chopping, 
pounding,  washing  and  draining.  Then  came  mechanical  wood  pulp, 
and  the  grinding,  purifying,  and  drying  of  this  was  shown  next  to 
chemical  wood  pulp  and  semi-chemical  pulp.  Then  there  were  ma¬ 
chines  and  endless  paper  cutting  apparatus,  glazing  rolls  and  calendars, 
appliances  and  processes  used  in  the  manufacture  of  special  papers,  and 
those  used  in  the  manufacture  of  cardboard.  Extra  fine  and  fancy 
papers  had  a  section  to  themselves.  Here  were  shown  China  paper, 
Japan  paper  (real  and  imitation),  vellum,  and  paper  made  with  enam¬ 
elled  size.  Following  this,  paper  for  newspapers  and  posters,  drawing 
and  hot  pressed  paper,  photographic  paper,  and  map  paper,  together 
with  paper  for  bank  notes. 

Parchment  had  an  exhibit  to  itself,  and  close  by  was  paper  for 
stationery,  cigarette  paper,  tissue  paper,  paper  for  confectionery,  and 
for  artificial  flowers.  Following  this  came  packing  and  wrapper  paper 
waxed  and  oiled,  and  that  used  in  machine  construction,  as  well  as  for 
fireworks  and  the  manufacture  of  explosives.  Then  there  were  tele¬ 
graph  papers,  papier  mache,  compressed  paper,  millboard  and  imita¬ 
tion  lacquer,  enamelled  and  bituminous  paper,  parchment  paper  for 
envelopes,  and  filter  paper  for  use  in  breweries. 

Class  89  came  next.  It  was  devoted  to  Leather  and  Skins.  These 
exhibits  began  with  skins  with  the  hair  on,  tannins  and  tannin  extracts, 
and  raw  materials  employed  in  the  preparation  of  leather  and  skins. 
Then  came  the  plant  and  processes  used  in  tanning,  currying,  tawing, 
Chamois  dressing,  and  generally  in  all  operations  connected  with  the 
preparation  of  leathers  and  skins.  This  was  followed  by  tanned  and 
curried  leather,  patent  leather,  Morocco,  tawed  chamois  leather,  and 


PAVILION  OF  MONACO.  PAVILION  OF  SWEDEN. 


CHEMICAL  INDUSTRIES. 


403 


parchment.  The  Centennial  exhibits  of  this  Class  were  found  at  the 
end  of  the  Avenue  Suffren.  They  consisted  of  a  very  extensive  series 
of  machines  for  the  preparation  of  leather.  There  was  a  Retrospective 
annex  filled  with  collections  of  banners  of  Leather  Working  Associa¬ 
tions  of  the  Middle  Ages,  also  a  superb  collection  of  ancient  and  mod¬ 
ern  shoes. 

As  already  stated,  Class  90,  devoted  to  Perfumery,  was  found  in 
the  Palace  of  Threads,  Yarns  and  Textiles.  While  the  next  Class  (91), 
that  devoted  to  Manufacture  of  Tobacco  and  Matches,  was  largely  rele¬ 
gated  to  the  Palace  of  National  Manufactures,  still,  here  remained  an 
interesting  exhibition  of  the  cultivation  of  the  tobacco  plant,  the  raw 
material,  the  manufacturing  appliances,  tobacco  factories  and  build¬ 
ings,  laboratory  appliances,  and  manufactured  products.  Regarding 
the  matches  one  could  see  the  raw  material,  match  factories  and  build¬ 
ings,  the  laboratory  appliances,  and  manufactured  products.  Foreign 
nations  were  very  fully  represented  in  all  the  exhibits  of  Group  XIV. 


Various  Industries. 


N  the  article  describing  the  group  which  embraced  Decora¬ 
tions  and  Furniture,  housed  in  the  Palace  of  National 
Manufactures,  situated  on  the  left  side  of  the  Esplanade 
of  Invalids,  the  whole  of  that  side  was  conceived  of  as 
occupied  by  a  single  and  immense  Palace.  From  an 
architectural  standpoint  this  was  justifiable,  for  the  facade 
was  a  continuous  one.  But  in  its  interior  arrangement  it  was  two  Pal¬ 
aces  or  grand  section,  the  first  devoted  to  National  (French)  Manufac¬ 
tures,  the  second  to  Diversified  Industries.  One  must  now  visit  this 
Palace  of  Diversified  Industries,  whose  front  faced  on  the  Esplanade  of 
Invalids,  and  whose  rear  overlooked  the  Street  of  Constantine,  for 
therein  was  found  the  group — Group  XV — which  embraced  the  title 
of  this  article — Various  Industries.  And  yet  this  attempt  at  location 
had  the  fault  of  discriminating  too  fully  between  the  Palace  of  National 
Manufactures  and  that  of  Diversified  Industries,  for  in  the  first  place, 
the  exhibits  of  both  Palaces  were  exclusively  French;  and  in  the  second 
place,  by  reason  of  the  Picard  method  of  intimately  associating  allied 
^  classes  of  exhibits,  the  classes  of  the  one  Palace  were  not  unfrequently 
found  in  the  other,  in  juxta-position  with  those  with  which  they  were 
allied.  Thus  it  would  have  proved  easier  for  the  visitor  to  adhere  to  the 
conception  that  but  a  single  and  continuous  Palace  existed  on  the  left 
side  of  the  Esplanade  of  Invalids,  and  that  it  contained  the  two  groups — • 
Groups  XII  and  XV — under  the  general  designation  of  Palace  of  Na¬ 
tional  Manufactures  and  Diversified  Industries. 

The  above  comprehensive  title  of  Group  XV  signified  that  the 

405 


THE  PARIS  EXPOSITION. 


406 


group  was  a  large  one,  as  did  also  the  vast  proportions  of  the  Palace, 
or  Palaces,  which  contained  it.  The  conception  of  the  group,  as  con¬ 
veyed  by  the  M.  Picard  classification  of  it,  was  as  follows,  the  class  num¬ 
bers  beginning  where  those  of  Group  XIV  ended : 

Class  92.  Stationery. 

Class  93.  Cutlery. 

Class  94.  Goldsmiths’  and  Silversmiths’  Work. 

Class  95.  Jewelry  and  Precious  Stones. 

Class  96.  Clocks,  Watches,  Timepieces. 

Class  97.  Bronzes  and  Works  of  Art  in  Cast  Iron  and  Wrought 
Metal — Repousse  Work. 

Class  98.  Brushes,  Leather  Articles,  Fancy  Articles  and  Basket 
Work. 


Class  99.  India-rubber  and  Gutta-percha  Industries — Travelling 
and  Camp  Equipments. 

Class  100.  Toys. 

The  very  first  class  (Class  92)  was  an  instance  of  associate  arrange¬ 
ment  on  the  basis  of  kindred  or  allied  classes.  It  was  in  juxta-position 
with  Class  68,  of  Group  XII,  which  embraced  Wall  Papers  and  Paper 
Hangings,  and  followed  this  class  with  its  general  exhibition  of  paper 
making,  and  its  diversified  and  interesting  show  of  appliances  and  pro¬ 
cesses  used  in  the  manufacture  or  preparation  of  paper  articles,  such  as 
ledgers,  copy  books,  envelopes,  writing  paper,  paper  bags,  boxes,  and 
the  full  category  of  stationery,  in  the  manufacture  of  which  no  people 
excel  the  French.  There  was  also  a  magnificent  exhibit  of  those  arti¬ 
cles  incident  to  stationery,  or  usually  classed  as  of  it,  such  as  materials 
and  articles  used  in  the  art  of  painting,  architecture,  sculpture  and  de¬ 
signing. 

Class  93,  devoted  to  Cutlery,  presented  the  animated  sight  ot  a 
complete  plant  used  in  the  manufacture  of  cutlery  from  start  to  finish, 


VARIOUS  INDUSTRIES. 


40? 

Special  attention  being  given  to  the  grinding  and  polishing  appliances. 
Then  followed  a  comprehensive  display  of  knives  in  the  finished  state 
pocket-knives,  pen-knives,  knives  with  fixed  blades,  all  sorts  of  table 
cutlery,  as  well  as  cutlery  used  in  gardening,  vine-culture,  forestry,  hunt¬ 
ing-  and  in  all  the  varieties  of  trades.  An  entire  section  of  the  class  was 
devoted  to  exhibits  of  scissors  and  work-box  cutlery.  Razors  of  various 
sizes,  shapes,  design  and  quality  formed  a  unique  exhibit,  and  the  vari¬ 
ety  of  plated  goods  for  table  use  was  infinite. 

Very  attractive  and  captivating  was  Class  94,  devoted  to  Gold¬ 
smiths’  and  Silversmiths’  Work.  Here  French  manufacturers  and  ar¬ 
tists  seemed  to  be  in  profound  rivalry.  The  largest  establishments  of 
France  were  in  evidence  with  gorgeously  constructed  and  richly  en¬ 
graved  dinner  services,  goblets,  jewel  caskets,  ornamental  vases  and 
classical  centre  pieces.  Articles  and  designs  in  tinware  and  enamel  work 
made  handsome  exhibits.  Religious  subjects  were  largely  represented 
in  goldsmiths’  work.  In  an  adjacent  section  appeared  the  means  of 
manufacture  of  all  these  elegant  and  costly  products — appliances  for 
goldsmiths’  and  silversmiths’  work;  the  large  variety  of  delicate  tools 
that  these  artists  in  rich  metals  use ;  appliances  for  casting  metals ;  ma¬ 
chinery  for  fashioning  delicate  fabrics,  for  electo-plating,  and  in  general 
for  the  methods  of  working  artistically  and  successfully  upon  metals. 

To  the  93d  and  94th  Classes  were  appended  Centennial  Museums, 
containing  remarkable  exhibitions  of  antique  and  historic  things,  illus¬ 
trative,  by  their  contrasts,  of  the  progress  in  metallic  art.  That  attached 
to  Class  93  showed  a  series  of  collections  of  antique  knives,  and  among 
them  were  some  beautiful  specimens,  such  as  might  have  been  used  by 
the  nobility  of  feudal  times — knives  with  steel  blades  and  gold  handles ; 
knives  of  gold  and  silver;  dessert  knives;  knives  of  the  17th  century 
with  carvings  on  the  ivory  handles,  representing  the  king,  the  queen, 
the  princes  and  princesses;  knives  of  the  16th  century;  a  carved  handle 


THE  PARIS  EXPOSITION. 


to  represent  a  woman  symbolical  of  Faith,  Hope  and  Power;  forks  of 
the  13th  and  14th  centuries;  antique  chisels,  surgical  instruments,  com¬ 
passes,  girdles,  saws,  stilletos,  bodkins  and  moulds. 

The  Centennial  Museum  of  the  94th  Class  was,  if  anything,  more 
interesting  in  ornamental  and  rare  antiques — a  centre  piece  and  its 
accessories  belonging  to  the  Empress  Eugenie,  and  rescued  from  the  fire 
at  the  Tuileries;  silver  flower  stands  and  candelabra  of  the  16th  century; 
goldsmiths’  designs  covering  two  centuries;  enamels  and  gold  work 
representing  religious  subjects;  seals,  caskets  and  engraved  pistols  of  the 
period  of  Louis  XVI ;  tureens  and  vegetable  dishes  of  the  period  of  the 
Empire. 

One  now  entered  Class  95 — a  Palace  of  Aladdin  in  beauty,  a  King 
Solomon’s  mine  in  wealth.  It  was  the  class  devoted  to  Jewelry  and 
Precious  Stones.  This  exhibition  embraced  appliances,  processes  and 
products,  and  was  therefore  as  comprehensive  as  it  was  possible  to  make 
it  without  importing  a  Kimberley  diamond  mine,  or  a  gold  section  from 
Klondike.  Its  first  section  showed  special  manufacturing  appliances 
and  the  methods  of  working  them.  Here  was  a  busy  and  captivating 
show.  There  were  laid  bare  to  the  eye  all  the  delicate  operations  and 
gradual  metamorphosis  of  the  rough,  unromantic,  dull-faced,  uninter¬ 
esting  looking,  mud-stained  crystal  into  the  glittering  gem,  as  it  appears 
in  ring,  pin,  necklace,  or  queenly  tiara. 

Few  things  were  more  entertaining  than  to  watch  the  handling 
of  these  gems,  and  nowhere  could  this  have  been  seen  to  better  ad¬ 
vantage  than  in  the  French  section  of  this  Exhibition.  There  was  a 
splendid  display  of  stones  themselves,  cut,  uncut,  and  in  various  stages 
between  those  two  states.  Diamond  cutting,  cutting  and  engraving 
other  precious  stones,  and  engraving  hard  cameos  and  shells,  all  were 
seen.  The  commercial  side  of  the  jewelry  business  had  not  been  for¬ 
gotten,  and  here  were  to  be  seen  ornaments  in  debased  gold,  which 


VARIOUS  INDUSTRIES. 


409 


was  labelled  for  export  purposes,  and  jewelry  in  silver,  platinum,  alum¬ 
inium.  It  is  needless  to  mention  that  much  of  the  jewelry  was  set 
with  precious  stones.  Imitation  work  was  also  given  plenty  of  space. 
Imitation  lapidary  work,  imitation  pearls,  imitation  precious  stones, 
imitation  everything  in  that  line  that  was  worth  imitating.  There  was 
gilt  jewelry,  imitation  jewelry  in  copper  and  other  metals,  steel  jew¬ 
elry,  mourning  jewelry  in  jet  and  in  glass,  jewelry  in  coral,  amber, 
mother-of-pearl,  and  many  other  precious  and  non-precious  material. 
France,  renowned  for  jewelry,  genuine  and  ungenuine,  had  taken 
care  to  place  herself  well  before  the  eyes  of  the  world. 

No  less  interesting  were  the  displays  of  Class  96,  or  that  Class 
devoted  to  Clocks  and  Watches.  Every  pattern  of  timepiece  that  the 
ingenious  clockmaker  could  hit  upon  ticked  away  in  the  Palace.  Not 
only  the  timepieces  themselves  were  exhibited,  but  also  the  plant 
needed  for  the  manufacture  of  them,  the  processes  through  which  they 
passed,  and  the  materials  of  which  these  many  different  parts  were 
made.  Section  1  of  this  vast  exhibit  consisted  of  special  plant  for  the 
manufacture  of  clocks,  watches  and  timepieces,  the  hand  tools  that  are 
used,  the  machinery,  steam  driving  or  otherwise  needed,  the  lathes  and 
other  machine  tools,  and  also  the  multidudinous  measuring  instruments 
required  in  this  business,  in  which  it  is  imperative  that  everything 
should  be  precise  and  exact.  After  showing  the  tools,  this  Exhibition 
placed  before  the  spectator  the  preparations  through  which  the  various 
metals  employed  by  watch  and  clock  makers  pass.  Each  separate  part 
of  clock  and  watch  was  fully  shown,  the  springs  playing  a  great  part  in 
the  illustration.  Then  there  were  watch  cases  ingeniously  constructed 
of  precious  metals,  and  cases  that  were  of  common  metals;  here  too 
were  the  rubies  and  other  stones  that  are  so  extensively  used  in  the 
jewelling  of  holes,  and  beautiful  examples  of  dials  in  enamel  and  other 


THE  PARIS  EXPOSITION. 


4id 

materials  could  be  seen  in  their  dozens.  Further  on  were  the  clocks 
for  churches  and  public  buildings.  These,  of  course,  occupied  a  great 
amount  of  space,  and  there  were  astronomical  clocks,  marine  chrono¬ 
meters,  electric,  pneumatic  and  hydraulic  clocks,  regulators,  alarms; 
and,  although  they  were  not  quite  in  the  clock  line,  still  being  of  the 
shape  of  watches,  there  was  also  an  exhibition  of  pedometers,  metro¬ 
nomes,  and  a  great  variety  of  registering  instruments.  Even  the  old- 
fashioned  but  accurate  hour-glass  was  on  view,  and  all  the  complica¬ 
tions  needful  for  the  successful  working  of  clockwork  chimes  were  fully 
illustrated.  Besides  being  a  valuable  educational  section  this  was  one 
of  the  most  beautiful  in  all  the  Exhibition. 

The  Centennial  Museum  connected  with  Class  96  contained  many 
exhibits  of  great  value.  Here  one  found  many  famous  collections  of 
antique  watches,  clocks,  precious  stones  and  curios,  the  Gorge  collec¬ 
tion  alone  being  valued  at  $57,000. 

Class  97  was  composed  of  exhibits  of  Bronzes  and  Works  of  Art 
in  Cast  Iron  and  Wrought  Metal;  also  of  Repousse  Work,  that  is  de¬ 
signs  in  relief  made  by  hammering  on  the  back  of  sheet  metal.  Here 
were  bronzes  and  works  of  art  in  cast  iron  and  wrought  metal,  together 
with  repousse  work.  French  decorators  have  since  the  beginning  of 
things  made  a  special  feature  of  works  in  bronze,  and  no  other  country 
can  show  so  many  delicate  designs  in  that  sort  of  decoration  as  can 
France.  In  this  class  were  exhibited  special  manufacturing  plants  that 
go  to  the  turning  out  of  those  exquisite  examples  of  beauty  in  bronze. 
There,  too,  were  patterns  and  moulds  used  in  foundries,  tools  for  chas¬ 
ing  and  repousse  work,  processes  for  mechanical  reduction,  and  all 
that — while  another  section  of  this  class  was  devoted  to  bronzes  and 
works  in  cast  iron  and  wrought  iron  other  than  those  specified  in  Class 
65  of  the  mining  and  metallurgy  group.  Here,  too,  was  the  art  zinc 


INTERIOR  OF  THE  PAVILION  OF  FINLAND.  HALL  OF  FETES— THE  GRAND  STAIRWAY. 


i 


VARIOUS  INDUSTRIES. 


4i3 


work;  and  still  another  section  was  filled  with  specimens  of  repousse, 
stamped,  and  damascened  metals. 

The  exhibits  of  Class  98  embraced  Brushes,  Leather  Articles, 
Fancy  Articles  and  Basket  Work.  They  were  embraced  in  more  than 
twenty  sub-sections.  In  the  section  of  brushes  was  found  every  article 
of  the  brush  description,  from  the  common  feather  duster  and  house¬ 
hold  brush  to  the  finest  toilet  production.  Leather  work  had  a  con¬ 
spicuous  place  in  the  Class,  and  every  conceivable  article  of  leather 
and  morocco  was  in  view.  The  basket  trade  was  fully  represented, 
from  the  coarsest  hamper  to  the  fancy  articles  for  the  confectionery 
and  drawing  room.  The  Centennial  Museum  of  this  Class  (98)  con¬ 
tained  many  interesting  exhibits,  such  as  a  collection  of  ivory  bas-re¬ 
liefs,  by  Van  Bossnit,  1635-1692;  a  great  many  articles  in  carved  ivory, 
combs  of  the  Renaissance  period;  a  collection  of  fifty  pipes,  an  Empire 
razor-case,  Ross’s  collection  of  all  kinds  of  travelling  requisites,  purses 
in  netted  silk,  embroidered  with  pearls,  and  two  antique  small  hand- 
machines  for  crocheting  purses. 

Class  99  was  devoted  to  interesting  exhibits  of  articles  illustrative 
of  the  India-rubber  and  Gutta-percha  Industries;  also  to  Travelling  and 
Camp  Equipments.  It  was  a  very  diversified  Class,  yet  arranged  in  ex- 
lent  taste.  The  travelling  and  camping  equipments  occupied  an  en¬ 
tire  annex. 

In  Class  100,  devoted  to  Toys,  one  saw  every  conceivable  toy  and 
game,  dolls,  tin  soldiers,  dolls’  wedding  outfits,  furniture,  carriages, 
household  goods,  singing  birds,  mechanical  toys,  hobby-horses  and 
goats,  wheelbarrows,  sheep,  drumming  rabbits,  scientific  and  instru¬ 
mental  toys;  and  lastly,  games  for  grown-up  people,  croquet,  tonneau, 
skittles,  nine-pins,  and  a  regular  bazaar  of  elaborate  and  expensive  toys, 
games  of  skill,  and  billiard  tables.  The  Centennial  Museum  of  this 


4*4 


THE  PARIS  EXPOSITION. 


Class  (ioo)  contained  very  amusing  and  varied  collections  of  toys  and 
trifles.  There  was  a  collection  of  dolls  with  wardrobes  and  Lilliputian 
furniture,  from  the  5th  and  6th  century,  belonging  to  the  early  Chris¬ 
tians,  with  embroidered  garments  and  real  hair,  to  the  mechanical  dolls 
of  to-day;  some  graceful  little  figures  of  Louis  XV.’s  time;  some  lead 
soldiers  of  1789  in  the  uniforms  of  the  period;  a  collection  of  toys  of  all 
periods,  especially  those  cf  the  Revolution  and  the  Empire;  a  balancing 
toy  of  the  18th  century  in  carved  and  turned  wood;  the  games  called 
the  People’s  Tower,  the  lurk’s  Tower,  the  Trumpeter  sitting  on  his 
Camel;  a  tricolor  game,  Empire  period;  a  set  of  mahogany  nine-pins 
bound  with  brass,  belonging  to  Louis  XVI.;  the  game  of  goose;  a  set 
of  chessmen,  time  of  the  Revulution,  with  French  and  Austrian  uni¬ 
forms.  Then  there  was  a  collection  of  ingenious  odds  and  ends,  Paris 
street  curiosities;  a  colored  glass  pane;  Napoleon  III.  holding  a  review; 
the  King  of  Rome’s  cartridge  pouch,  etc. 

As  has  been  said,  the  whole  of  this  left-hand  building,  that  which 
backed  on  the  Rue  de  Constantine,  was  taken  up  with  French  pro¬ 
ducts.  The  right  hand  building  across  the  Esplanade  Invalids  was 
given  over  to  foreign  countries,  and  to  be  sure  these  showed  a  like 
number  of  arts  and  crafts  to  France  herself.  Beginning  with  the  end 
nearest  to  the  Hotel  Invalids,  one  first  came  upon  the  space  devoted  to 
the  various  industries  of  Belgium.  She  presented  very  numerous  and 
rich  displays  of  painted  china,  mantle  chimney  pieces,  tapestries,  mir¬ 
rors,  art  bronzes,  colored  glass,  articles  of  Spawood,  etc.  Russia 
shared  an  entire  gallery  with  Belgium,  and  exhibited  her  furniture, 
lapis  lazuli  vases,  china,  Byzantine  goldsmiths’  work,  leather  products, 
etc.  Germany  came  next  with  her  highly  ornamented  gallery  and  her 
rich  and  varied  displays  of  handiwork  in  every  branch  of  art  and  craft. 
Next  came  the  galleries  occupied  by  displays  from  the  United  States. 


VARIOUS  INDUSTRIES. 


415 


The  numerous  glass  cabinets  containing  them  were  framed  in  a  white 
colonnade  entwined  with  gilt  flowers,  the  arched  entrance  to  the  space 
being  surmounted  with  armorial  bearings.  Her  exhibits  of  goldsmiths’ 
work,  inlaid  with  various  methods,  proved  a  revelation  to  foreign  ar¬ 
tists;  and  in  clocks  and  watches  she  rivalled  the  finest  displays  of  France 
and  Switzerland.  Great  Britain  occupied  a  large  space  next  to  the 
United  States,  and  she  had  it  well  filled  with  rare  displays  of  industrial 
products.  Italy’s  place  was  opposite  England.  She  exhibited  beau¬ 
tiful  mosaics,  fashionable  jewelry,  luxurious  furniture,  crystal  and  glass- 
finely  represented  in  her  ceramics,  silverwork,  tapestries,  paper  hang- 
work,  bronzes,  sawed  woodwork,  church  ornaments,  etc.  Sweden  was 
ings,  jewelry,  etc.  Denmark  showed  magnificent  vases,  tapestries, 
papers,  leather  work,  and  other  interesting  hand-products.  Austria- 
Hungary  presented  numerous  exhibits  of  Bohemian  glass,  meerschaum 
and  porcelain  pipes,  Viennese  clocks,  goldsmiths’  work,  toys,  paste 
diamonds,  garnets,  bentwood  and  inlaid  furniture,  etc.  Spain  was 
particularly  strong  in  her  furniture  and  leather  exhibits.  Switzerland 
showed  no  less  than  158  exhibits  representing  her  watchmaking  in¬ 
dustry,  and  numerous  others  showing  goldsmiths’  work,  jewelry,  china 
and  wood  carving.  Japan  was  represented  by  many  and  artistic  ex¬ 
hibits  representing  her  taste  and  industry  in  bronze  work,  goldsmiths’ 
and  silversmiths’  work,  carved  wood,  lacquer  work,  inlaid  ivory  and 
porcelain,  chinaware,  etc. 


PALACE  OF  ALGERIA. 


Social  Economy,  Hygiene,  Public  Charitable  Relief. 


T  the  northern  end  of  the  Pont  de  1’  Alma,  and  on  the  right 
bank  of  the  Seine,  is  a  beautifully  laid  out  square,  which,  for 
Exposition  purposes,  became  the  site  of  the  Palace  of  Con¬ 
gress  and  Social  Economy.  It  was  a  large  building  of 
rectangular  shape,  with  a  plain,  heavy  front,  relieved  with 
decorations  of  the  time  of  Louis  XVI.  Its  main  facade  was 
divided  into  three  spaces,  each  of  which  contained  large  openings,  sep¬ 
arated  by  two  smooth  sections  of  considerable  size,  forming  portals,  or 
entrances.  Crowning  these  portals  were  two  domes  of  neat  propor¬ 
tions  and  decided  architectural  effects.  The  eastern  front,  or  that  facing 
the  Cours-la-Reine,  had  three  large  and  handsome  doors  which  formed 
entrances  to  a  capacious  and  highly  decorated  lobby.  This  lobby  was 
really  the  only  specially  decorated  portion  of  the  ground  floor  of  the 
Palace,  for  otherwise  the  walls  of  this  floor  were  hidden  by  the  pictures, 
cabinets,  glass  cases,  and  models  intended  for  exhibition.  Out  of  this 
lobby  rose  two  magnificent  staircases,  by  means  of  which  access  was  had 
to  the  first  floor  (second  story).  This  first  floor,  or  second  story,  was 
reserved  for  the  use  of  the  various  congresses,  or  conferences,  which  suc¬ 
ceeded  one  another,  or  were  in  simultaneous  session,  from  May  until  the 
close  of  the  Exposition.  (See  article,  Congresses  of  the  Exposition). 
Here  were  five  large  halls,  each  capable  of  seating  from  250  to  800  pople, 
for  the  use  of  the  members  participating  in  the  respective  congresses. 
These  halls  were  fitted  with  every  necessary  convenience  for  the  business 
to  be  transacted  within  them.  The  largest  of  these  halls  was  called  the 
Grand  Hall.  It  seated  800  people,  and  was  specially  used  for  the  hold- 


20 


419 


420 


THE  PARIS  EXPOSITION. 


ing  of  international  conferences,  or  congresses,  though  at  intermediate 
times  it  became  the  scene  of  concerts  and  magic  lantern  displays.  For 
these  purposes  it  contained  a  speaker’s  platform,  a  large  organ,  and  ad¬ 
justable  blinds  so  arranged  as  to  darken  the  room  in  daylight  sufficiently 
for  the  use  of  magic  lanterns  intended  to  illustrate  the  speeches  of  the 
members  of  the  congresses.  Besides  the  halls,  on  this  floor,  an  immense 
gallery  325  feet  long  and  40  feet  wide  was  carried  around  the  whole 
extent  of  the  building.  This  gallery  was  beautifully  decorated  with 
busts  of  celebrated  economists,  and  beside  being  used  as  waiting  rooms 
for  members  of  the  congresses,  it  was  a  favorite  spot  for  the  holding  of 
balls  and  receptions.  A  pleasing  and  encouraging  incident  in  connec¬ 
tion  with  the  erection  of  the  Palace  of  Congresses  and  Social  Economy 
was  that  it  was  built  entirely  by  a  number  of  the  working  guilds  of  Paris, 
among  which  were  “The  Paris  Guild  of  Carpenters,”  “The  Paris  Ma¬ 
sons”  and  the  “Society  of  Painters.” 

The  exhibits  of  the  Palace  of  Congress  and  Social  Economy,  or 
rather  of  the  Group  of  Social  Economy,  Hygiene  and  Public  Charitable 
Relief,  constituted  grand  Group  XVI  of  the  Exposition.  Its  classifica¬ 
tion  according  to  the  M.  Picard  system  was  as  follows,  the  numbers  be¬ 
ginning  where  those  of  Group  XV  left  off : 

Class  1 01.  Apprentices — Protection  of  Child  Workers. 

Class  102.  Labor  and  Wages — Profit  Sharing. 

Class  103.  Large  and  Small  Industries — Co-operative  Associa¬ 
tions  of  Production  and  Credit — Professional  and  Trade  Associations. 

Class  104.  Farming  on  a  Large  and  Small  Scale — Agricultural 
Unions — Agricultural  Credit. 

Class  105.  Protection  of  Workers  in  Factories — Regulations 
Affecting  Work. 

Class  106.  Workmens’  Dwellings. 

Class  107.  Co-operative  and  Provision  Stores. 


SOCIAL  ECONOMY,  HYGIENE,  ETC. 


421 


Class  108.  Institutions  for  the  Intellectual  and  Moral  Improve¬ 
ment  of  Working  Men. 

Class  109.  Provident  Institutions. 

Class  no.  Public  or  Private  Movements  for  the  Welfare  of  the 
People. 

Class  in.  Hygiene. 

Class  1 12.  Public  Charitable  Relief. 

It  was  evident  from  this  comprehensive  classification  that  the  prob¬ 
lems  of  social  economy  held  a  high  place  in  the  Exposition  of  1900,  and 
this  was  proper,  for  at  no  time  in  history  had  they  been  so  much  world- 
problems,  alike  interesting  to  all  the  nations,  and  anxiously  awaiting 
solution  in  all.  The  first  class  of  Group  XVI — Class  101 — embraced 
the  subject  of  Apprentices  and  of  the  Protection  of  Child  Workers.  In 
respect  of  these  subjects  all  the  lands  had  contributed  their  experiences, 
customs,  methods  and  laws,  and  it  was  interesting  to  note  their  variety 
and  contrariety,  as  well  as  the  profound  attention  they  excited  among 
observers  and  students. 

In  regard  to  apprenticeship  in  the  workshops,  here  were  shown  the 
various  systems  of  working,  indentures  that  were  drawn  up  between 
master  and  apprentice,  and  the  relations  that  exist  between  employers 
and  employees.  The  very  many  illustrations  of  the  systems  of  appren¬ 
ticeship  were,  in  so  far  as  was  possible,  attended  with  a  showing  of  their 
practical  results.  Along  with  these  were  expositions  of  the  free  tech¬ 
nical  instruction  extended  to  children  in  schools  established  either  by 
employers  or  by  workmen  interested  in  the  proper  rearing  of  the  com¬ 
ing  generation  of  workers.  An  interesting  portion  of  Class  101  was  de¬ 
voted  to  training  in  industrial  and  agricultural  orphanages,  in  work¬ 
rooms,  in  training  schools  for  domestic  servants  and  similar  institutions. 
Then  there  was  a  complete  list,  or  digest,  of  legislation  affecting  the 
work  of  children,  and  the  protection  of  child  workers.  In  this  feature 


422 


THE  PARIS  EXPOSITION. 


one  noticed  with  pleasure  the  attention  enlisted  by  social  economists  of 
every  nation,  for  the  matter  of  juvenile  employment  comes  directly  home 
to  all  civilized  communities,  and  all  are  engaged  in  a  struggle  to  compass 
it  with  wise  legislation  and  satisfactory  regulations. 

Class  102  of  the  group  was  devoted  to  objects  and  teachings  bear¬ 
ing  on  the  problems  of  Labor  and  Wages  and  of  Profit  Sharing.  Here 
were  shown  or  propounded  methods  of  settling  a  scale  of  wages  in  the 
matter  of  day  work,  piece  work,  or  contract  work.  Bonuses  and  over¬ 
time  payment  in  all  kinds  of  work  was  gone  into.  The  system  of  work¬ 
ing  in  various  lands  and  under  various  conditions  afforded  wide  and 
interesting  scope  for  those  interested  in  affairs  appertaining  to  this  Class 
(102).  The  respective  nations  participating  in  the  demonstrations 
coupled  with  this  entire  Group,  were  represented  by  able  committees, 
whose  mission  was  to  procure  and  arrange  the  best  illustrative  and 
educational  displays  possible,  and  provide  the  talent  necessary  to  ex¬ 
emplify  and  discuss  the  problems  presented. 

To  mention  further  objects  shown  in  illustration  of  Labor,  Wages 
and  Profit,  there  appeared  those  bearing  on  encouragements  to  work 
and  to  remain  long  in  the  same  employment,  the  system  of  payment 
of  wages,  of  regulating  disputes  relating  to  scales  of  wages,  and  the 
relation  between  wages  and  the  cost  of  living.  A  subsection  was  de¬ 
voted  to  profit  sharing.  Many  and  various  methods  of  sharing  profits 
were  shown,  as  were  also  the  proportion  and  principle  of  allotment  of 
shares  of  profits  to  employees  and  workmen,  and  the  powers  of  the 
employer  in  regard  to  the  management  of  his  business  and  the  appoint¬ 
ment  or  dismissal  of  a  staff,  the  auditing  of  accounts,  and  the  methods 
of  applying  the  share  of  profits,  and  their  results.  Tenant  farming,  too, 
had  a  space  to  itself. 


PAVILIONS  OF  GERMANY  AND  SPAIN.  PALACE  OF  TURKEY. 


SOCIAL  ECONOMY,  HYGIENE,  RELIEF. 


425 

The  next  Class  of  this  Group — Class  103 — was  devoted  to  Large 
and  Small  Industries;  Cooperative  Associations  of  Production  and 
Credit;  Professional  and  Trade  Associations.  Here  was  a  vast  accu¬ 
mulation  of  documents  well  displayed,  giving  statistics  relating  to  in¬ 
dustries  carried  on  in  large  establishments  as  well  as  small  factories 
and  even  domestic  industries.  Their  comparative  facts  were  displayed, 
as  was  also  the  result  of  slack  and  out  of  work  periods.  The  mode  of 
living  and  expenses  of  working-men’s  families  in  many  countries  were 
also  shown.  It  must,  of  course,  be  understood  that  the  exhibits  in  this 
group  were  practically  all  on  paper.  Here  were  given  in  figures  and 
letter-press  how  best  to  form  a  workingmen’s  cooperative  association 
of  production,  how  the  capital  should  be  raised,  the  proper  constitu¬ 
tion  of  the  managing  body,  the  sharing  of»  profits,  the  remuneration 
generally  given  to  outside  societies,  and  the  advantage  of  such  associa¬ 
tions  that  accrue  to  State,  country  or  parish.  Cooperative  credit  asso¬ 
ciations  were  also  dealt  with,  starting  with  the  object  and  constitution; 
the  formation  of  capital,  the  number  and  status  of  members,  and  extent 
of  their  liabilities;  how  best  the  management  should  be  conducted,  how 
the  money  should  be  handled,  the  accounts  kept  and  rendered;  how 
the  profits  should  be  shared,  the  relations  that  should  be  entered  into 
with  other  credit  associations,  and  all  facts  relating  to  state  grants  and 
banks.  After  these  came  professional  and  trade  associations,  the  federa¬ 
tion  of  employers,  workmen,  and  of  employers  and  workmen,  legisla¬ 
tion  relating  to  all  these  matters,  the  organization  and  functions  of 
these  bodies,  the  relations  between  workmen  and  federations  or  em¬ 
ployers’  federations  and  non-society  men.  Following  this,  of  course, 
came  large  statistics  with  regard  to  strikes,  their  causes  and  effects;  and 
the  question  of  compulsory  or  optional  arbitration  was  thoroughly  con¬ 
sidered. 


426 


THE  PARIS  EXPOSITION. 


Following  on  in  order  through  this  elaborate  and  highly  educa¬ 
tional  group,  the  next  Class — Class  104 — embraced  the  subjects  of 
Farming  on  a  Large  and  Small  Scale;  Agricultural  Unions;  Agricul¬ 
tural  Credit.  The  question  of  the  world’s  food  supply  is  one  always 
uppermost  in  the  minds  of  nations,  and  it  was  therefore  to  be  expected 
that  the  last  and  grandest  Exposition  of  the  century  should  give  special 
attention  to  agriculture.  The  exhibits  began  with  objects  and  demon¬ 
strations  relating  to  a  division  of  property  and  working  of  lands.  Land 
transfer  was  thoroughly  digested,  and  the  laws  affecting  distribution, 
arrangement,  or  transfer  of  land  were  all  accurately  set  forth  in  a  way 
that  even  the  ignorant  might  understand.  The  special  customs  and 
precedents  relating  to  land  and  its  employments,  the  conditions  of  the 
hands  employed  in  farming  on  a  large  scale,  or  on  a  medium  scale,  or 
on  a  small  scale  are  shown.  The  condition  of  the  tenant  farmer  was 
gone  into,  as  well  as  the  conditions  of  the  agricultural  laborer,  and  the 
mode  of  living  and  expenses  of  the  working  men’s  families  were  there 
given  with  a  thoroughness  that  was  characteristic  of  every  section.  A 
movement  that  has  attracted  weighty  attention  is  that  of  the  rural  popu¬ 
lation  to  cities.  This  question  affects  the  Anglo-Saxon,  perhaps  more 
than  any  other  race,  and  the  Management  of  the  Exhibition  had  not 
overlooked  its  importance.  It  was  dealt  with  in  this  part  of  the  social 
economy  group,  as  was  also  the  question  which  has  long  troubled  Euro¬ 
pean  countries,  that  of  their  people  emigrating  abroad. 

A  second  section  of  the  Class  was  devoted  to  the  problem  of  Agri¬ 
cultural  Unions.  In  it  were  shown  the  services  rendered  by  those 
bodies  in  facilitating  the  purchase  of  agricultural  implements,  manures, 
seed,  and  live  stock,  and  in  the  propagation  of  scientific  cultivation, 
and  also  in  the  sale  of  farm  produce  and  all  that.  Then  Agricultural 
Credit  was  taken  note  of,  the  mortgages  that  in  so  many  instances  hang 


SOCIAL  ECONOMY,  HYGIENE,  BELIEF.  427 

like  a  mill  stone  round  the  neck  of  the  farmer.  The  loans  on  security, 
the  advances  on  harvest  produce  in  bond,  and  those  on  personal 
security;  agricultural  banks,  mutual  loan  associations,  all  were  care¬ 
fully  gone  into. 

Then  there  came  in  Class  105  a  most  important  and  interesting 
display,  illustrative  of  the  intricate  matter  of  the  Protection  of  Workers 
in  Factories,  and  the  regulations  affecting  their  work.  To  begin  with, 
there  was  a  comprehensive  list  of  accidents  and  the  statistics  relating 
thereto.  Then  came  the  subject  of  legislation  affecting  hours  of  work, 
factory  laws  and  sanitary  regulations,  regulations  for  the  safety  of 
workers,  effects  of  these  laws  and  regulations  on  the  health  and  security 
of  workers,  on  their  earnings,  the  condition  of  their  families,  and  the 
cost  of  production  of  manufactured  goods.  These  heads  of  them¬ 
selves  give  an  idea  of  the  importance  of  this  part  of  the  Exhibition. 

In  Class  106  one  was  introduced  to  all  things  pertaining  to  Work¬ 
men’s  Dwellings.  In  this  section  were  seen  plans  and  specimens  of 
cheap  and  healthy  dwellings,  of  single  houses  built  by  employers,  or 
by  working  men  themselves,  or  by  building  societies,  or  philanthropic 
bodies.  The  matter  of  the  rent  for  these  houses  was  thoroughly  sifted, 
as  was  also  the  purchase  of  house  property  by  payments  of  fixed  in¬ 
stalments  in  the  form  of  rent,  and  the  advances  to  working  men  who 
build  their  own  houses.  There  were  plans  for  workmen’s  flats,  for 
lodgings,  for  unmarried  artisans,  and  statistics  in  regard  to  State  aid, 
parish  aid,  savings  bank  assistance,  and  every  means  of  encouraging 
thrift. 

As  further  illustrative  of  the  subject  of  social  economy,  and  still 
in  the  interest  of  the  working  man,  Class  107  took  up  the  very  im¬ 
portant  matter  of  Cooperative  and  Provision  Stores.  The  arrangement 
of  subjects  showed  the  following:  Cooperative  Stores  and  Companies 


428 


THE  PARIS  EXPOSITION. 


for  the  sale  of  commodities — especially  provisions,  bread,  meat,  sup¬ 
plies  for  restaurants,  soup  kitchens,  etc;  the  original  object  and  con¬ 
stitution  of  these  Companies,  raising  of  capital,  number  and  status  of 
the  shareholders,  management,  purchase  department,  manufacturing 
department,  exclusive  sale  to  shareholders,  or  to  the  general  public; 
sale  at  cost,  wholesale,  retail,  or  other  prices;  conditions  of  payment, 
shop  management,  accounts,  share  of  profits,  catering  for  staff  organ¬ 
ized  by  employers,  taxation  of  cooperative  stores  and  provision  caterers, 
special  catering  associations  formed  by  railway  servants,  or  for  their 
own  benefit;  competition  with  local  tradesmen  and  its  effects.  ' 

The  next  Class — Class  108 — was  allocated  to  Institutions  for  the 
Intellectual  and  Moral  Improvement  of  Working  Men.  It  began  with 
all  particulars  regarding  polytechnics  and  their  education,  institutions 
founded  by  employers,  or  by  their  workmen;  the  lectures  that  are  given 
therein,  the  mutual  improvement  societies,  libraries,  museums,  and 
collections  which  they  should  contain.  Another  part  of  this  class  took 
into  consideration  workmen’s  clubs,  their  staffs,  administration,  finan¬ 
cial  conditions,  the  games  that  are  played  therein,  and  refreshments 
that  are  served  through  the  members,  also  the  rules  of  admission  to 
the  public,  and  of  the  member’s  family.  The  class  then  widened  out, 
and  took  note  of  musical  societies,  shooting  and  athletic  clubs,  whether 
formed  by  employers  or  by  the  working  men  themselves,  and  the 
people’s  palaces  that  have  sprung  up,  and  are  still  springing  up  in  the 
various  quarters  of  the  world,  also  other  institutions  of  entertainment 
and  education. 

Next  in  order  came  the  Class  (109)  devoted  to  Provident  Insti¬ 
tutions.  In  a  first  section  of  this  interesting  Class  one  was  made  ac¬ 
quainted  with  the  general  subject  of  thrift,  illustrated  by  the  workings 
of  the  International  Post  Office  Bank  and  Savings  Bank  systems.  On 


SOCIAL  ECONOMY,  HYGIENE,  RELIEF. 


429 


the  walls  were  most  striking  exhibitions  of  the  amount  of  money  which 
the  common  people  have  been  able  to  save;  and  been  tempted  by  the 
sound  security  which  is  given  them  to  deposit  as  the  results  of  their 
thrift  with  the  Post  Office  Savings  Bank.  A  prominent  space  on  the 
wall,  measuring  something  like  7  feet  by  9  feet,  was  covered  by  a  strik¬ 
ing  pictorial  manifestation  of  the  development  of  the  British  Post  Office 
Savings  Bank.  The  British  Post  Office  Savings  Bank  was  instituted  in 
1861,  and  since  then  has  been  copied  in  many  countries.  The  United 
States  has  not  adopted  it  because  it  is  not  deemed  compatible  with  our 
widely  ramified  and  politically  served  postal  system.  Other  sections  of 
this  class  illustrated  the  workings  of  school  savings  banks,  savings 
banks  under  State  supervision,  trust  societies  and  systems  adopted  to 
encourage  thrift,  arrangements  for  the  deposit  or  investment  of  indi¬ 
vidual  or  collective  savings  of  workmen  and  employees;  provision  for 
the  families  of  workmen  during  employment. 

Then  were  exemplified  benefit  and  mutual  aid  societies;  legisla¬ 
tion,  advantages  accruing  to  societies  according  to  their  legal  status; 
formation,  organization,  and  management;  relations  with  other  bodies; 
medical  assistance  and  medicine  in  case  of  illness;  assistance  whilst  out 
of  employment;  assistance  in  old  age,  pensions,  insurance;  assistance 
in  case  of  death;  admission  of  women,  assistance  to  women  during  child¬ 
birth;  receipts  and  expenses.  Statistical  tables  of  disease. 

Finally  came  the  consideration  of  such  provident  institutions  as 
pension  funds,  State  and  municipal;  pension  funds  formed  by  employ¬ 
ers,  or  by  workmen  or  employees;  compulsory  or  optional  subscrip¬ 
tions  by  masters  and  by  workmen  or  employees;  deduction  from  wages 
for  this  purpose;  conditions  affecting  the  enjoyment  and  share  of  pen¬ 
sions;  reversion  to  widows  and  children.  Life  insurance:  payment  by 
the  State,  by  societies,  or  by  insurance  companies  at  death  or  at  a  fixed 


43° 


THE  PARIS  EXPOSITION. 


date;  deferred  and  mixed  payments.  Payment  of  premiums  by  em¬ 
ployers,  workmen,  or  societies  formed  for  this  purpose.  Tables  of  mor¬ 
tality  and  death  statistics. 

Class  no  of  the  Group  embraced  Public  or  Private  Movements 
for  the  Welfare  of  the  People.  Here  were  comprised  laws  and  regula¬ 
tions  drawn  up  by  public  bodies,  or  by  institutions  founded  or  sup¬ 
ported  by  them  for  the  purpose  of  completing,  controlling,  or  super¬ 
seding  work  commenced  by  private  enterprise#;  intervention  of  these 
bodies  in  contracts  of  exchange  and  labor;  State  and  municipal  social¬ 
ism.  Regulation  of  work  and  wages;  advances  and  subsidies  granted 
to  working  men  or  their  associations;  cheap  dwellings  organized  by 
or  with  the  help  of  municipal  bodies;  conciliation  boards  and  arbitra¬ 
tion  in  disputes  between  masters  and  men,  grants  to  men  on  strike; 
Government  workshops;  construction  and  working  of  canals  and  rail¬ 
ways;  supply  of  water  and  light;  tax  on  commodities  such  as  meat  or 
bread;  establishments  for  the  supply  of  bread,  meat,  etc.,  instituted  and 
managed  by  local  authorities;  steps  taken  to  encourage  or  to  check 
emigration  or  immigration,  etc.  Labor  bureaus;  their  aim  and  re¬ 
sults.  Museums  of  social  economy.  Administration  of  Trades  Unions. 
Employment  agencies  with  or  without  monopolies;  labor  exchanges. 
Comparison  of  the  social  conditions  of  different  countries.  Risks  at¬ 
tending  various  trades  were  given,  and  the  employer’s  liability  in  case 
of  accident. 

The  next  Class  of  the  Group — Class  hi — related  to  Hygiene. 
This  Class  was  not  exhibited  in  the  Palace  of  Congress,  but  in  an  an¬ 
nex  to  the  Army  and  Navy  Palace,  and  in  connection  with  Class  12 1. 

The  last  Class  of  this  Group — Class  112 — relating  to  Public  Char¬ 
itable  Relief,  was  relegated  to  a  space  in  the  Palace  of  Agriculture, 
upon  the  Champ  de  Mars  (Camp  of  Mars).  Its  exhibits  began  with 


SOCIAL  ECONOMY,  HYGIENE,  RELIEF. 


43 1 


documentary  information  such  as  legislation  relating  to  charitable  re¬ 
lief,  and  practical  organization;  the  methods  of  relief  in  actual  opera¬ 
tion  by  the  State,  by  district  councils,  hundreds,  baronies,  and  munici¬ 
palities,  by  unions,  and  by  private  organization,  and  the  ways  and  means 
of  financing  these.  In  Section  2  the  protection  of  children  was  con¬ 
sidered.  First  there  was  the  general  organization  for  the  protection 
of  children,  beginning  with  assistance  to  mothers  before  the  birth  of 
the  child,  mothers’  refuges,  mothers’  mutual  aid  societies,  lying-in  hos¬ 
pitals,  and  convalescent  homes.  Then  came  the  creches,  and  institu¬ 
tions  for  babies,  for  foundlings,  and  orphans,  also  for  destitute  and 
morally  abandoned  children,  and  help  for  sick  or  crippled  children. 
The  third  section  was  given  up  to  the  relief  of  adults;  mutual  aid  was 
considered,  also  charitable  organizations,  relief  by  providing  work, 
night  shelters,  soup  kitchens,  and  mendicity  societies;  relief  for  the 
sick  poor,  out-door  relief,  free  dispensaries  and  hospitals,  together  with 
the  relief  of  the  aged,  family  assistance,  workhouses,  cottage  homes, 
and  alms  houses.  Then  came  departments  connected  with  the  treat¬ 
ment  of  lunatics;  after  that  the  institutions  for  the  blind,  and  how  to 
assist  them  by  work  and  other  means;  institutions  for  the  deaf  and 
dumb;  legislation  and  practical  organizations  of  pawnbrokers. 

Among  the  exhibits  of  foreign  nations  to  this  Group,  those  of 
the  United  States,  England  and  Belgium  easily  took  the  lead. 


PALACE  OF  INDO-CHINA. 


PAVILION  OF  BOSNIA  AND  HERZEGOVINA. 


Colonization. 


HE  splendid  square,  or  garden,  of  the  Trocadero,  on  the 
northern,  or  right,  bank  of  the  Seine  where  it  is  crossed 
by  the  Iena  Bridge,  was  a  central  scene  in  the  Paris  Ex¬ 
position  of  1889.  The  magnificent  Trocadero  Palace  is 
a  permanent  legacy  of  that  Exposition.  In  the  Inter¬ 
national  Exposition  of  1900,  the  Trocadero  grounds  played  a  different, 
but  still  a  unique  and  significant,  part,  for  they  were  dedicated  to  a  con¬ 
ception  which,  while  it  might  be  regarded  as  of  French  origin,  never¬ 
theless  came  home  to  many  of  the  leading  nations,  and  enlisted  their 
hearty  rivalry. 

The  time  was  certainly  apropos  for  such  an  exhibition  as  that  found 
in  the  Trocadero  square  in  1900-— an  exhibition  of  ’ the  colonial  policy 
of  the  colonizing  nations  of  the  world.  France  herself  was  in  the  midst 
of  her  colonial  struggles  in  Africa,  Madagascar  and  Siam.  England  was 
enjoying  the  fruits  of  a  wise  colonization  system  in  Canada,  Australia, 
and  Central  Africa,  but  tasting  the  bitterness  of  her  ambitions  in  South 
Africa,  India  and  the  coasts  of  China.  Russia  had  redeemed  Siberia, 
only  to  confront  the  grave  problem  of  war  with  China  on  the  Amoor 
boundary.  Belgium  was  illustrating  on  the  Congo  how  difficult  it  was 
to  civilize  her  colored  subjects.  Holland  was  showing  the  world  the 
successes  of  her  art  in  keeping  colonies  in  peace  and  prosperity.  Ger¬ 
many  was  proving  that  her  spirit  of  colonization  possesed  the  germs  of 
success.  Italy  was  showing  how  she  could  sow  colonization  seed  only 
to  reap  the  thistles  of  failure.  Even  the  United  States  with  its  Hawa¬ 
iian,  Porto  Rican  and  Philippine  problems  on  hand,  was  capable  of 
teaching  in  the  colonial  primary  school,  or  if  not,  of  assuming  the  role  of 


435 


436 


THE  PARIS  EXPOSITION. 


an  enthusiastic  and  intelligent  scholar  in  the  college  of  nations. 
The  grand  group  of  Colonization  which  clustered  in  the  Trocadero 
grounds  was  Group  XVII  of  the  Exposition.  Its  classification  accord¬ 
ing  to  the  Picard  system  was  as  follows,  the  numbers  of  the  classes  be¬ 
ginning  where  those  of  Group  XVI  left  off : 

Class  1 13.  Methods  of  Colonization. 

Class  1 14.  Colonial  Buildings  and  Appliances. 

Class  1 15.  Special  Products  suitable  for  Export  to  Colonies. 

Before  venturing  into  the  various  erections  that  distinguished  this 
group  of  Colonization,  one  found  it  best  to  view  what  was  very  appro¬ 
priately  called  its  synthesis  or  central  point.  This  consisted  of  what 
was  termed  the  Pavilion  of  the  Colonial  Office,  or  capital  spot  of  the 
colonial  exposition  so  far  as  the  same  related  to  France.  This  was  a 
graceful  building  from  an  architectural  standpoint,  consisting  of  long 
galleries,  opening  into  which  were  two  large  and  four  small  halls,  in¬ 
tended  for  the  reception  of  exhibits  of  the  various  departments  of  the 
Colonial  Office.  Within  the  Pavilion  was  found  a  full,  and  in  one  sense 
an  unrivalled,  collection  of  documents,  books  and  pamphlets  descriptive 
of  French  colonial  history.  This  was  supplemented  by  a  collection  be¬ 
longing  to  the  French  Historical  Society,  exhibiting  the  most  import¬ 
ant  publications  illustrative  of  how  much  colonial  geography  is  indebted 
to  colonial  enterprise,  and  showing  in  particular  the  resrflts  obtained 
through  French  colonization  efforts  upon  the  Niger  river,  in  northern 
Soudan,  in  the  Sahara  region,  in  New  Guinea,  and  on  the  French  Congo. 
There  was  the  same  wealth  of  the  literature  showing  colonization  meth¬ 
ods  and  results  in  Asia,  and  in  the  island  of  Madagascar. 

One  has  noticed  that  in  both  houses  of  the  56th  Congress  of  the 
United  States  there  were  created  new  committees  whose  duties  related 
to  the  control  of  the  Philippines,  Porto  Rico  and  other  newly  acquired 
insular  possessions.  France  recently  went  a  step  further  in  creating, 


COLONIZATION. 


437 


and  making  a  part  of  her  machinery  of  government,  a  Colonial  Office, 
which  has  during  its  brief  existence  given  striking  proof  of  its  energy 
and  of  the  services  it  is  capable  of  rendering.  This  Colonial  Office  had 
as  a  permanent  institution  at  its  exclusive  disposal,  three  of  the  finest 
halls  in  the  Pavilion.  In  the  first  hall  was  a  library  of  8000  volumes  em¬ 
bracing  latest  reports  of  explorers,  chiefs  of  missions,  and  many  photo¬ 
graphs  of  colonial  scenes.  In  the  second  hall,  which  was  a  clerical  one, 
the  walls  were  covered  with  colored  plans  showing  the  concessions  of 
lands  in  various  colonial  spheres,  and  those  yet  undisposed  of,  as  well 
as  their  mineral  and  other  natural  resources.  The  third  hall  showed 
specimens  of  colonial  produce.  All  three  halls  were  richly  decorated 
with  valuable  collections  of  works  of  art,  such  as  busts  of  the  most  noted 
contributors  to  French  colonial  development,  and  also  with  conserva¬ 
tories  containing  exhibitions  of  the  botany  of  the  different  colonies. 

Entering  now  upon  a  closer  view  of  the  first  class  of  Group  XVII — 
Class  1 13,  or  that  embracing  Methods  of  Colonization — the  exhibits 
showed,  first,  the  statistical  and  historic  information  relating  to  the  polit¬ 
ical,  administrative,  industrial,  agricultural  and  commercial  welfare  and 
growth  of  colonies.  This  was  supplemented  by  information  relating  to 
protection,  imports,  exports,  and  land  tenures  in  various  colonies ;  also, 
the  means  of  transfer  adopted,  the  employment  of  native,  emigrant  and 
convict  labor  in  colonies,  and  societies  for  the  encouragement  of  colonial 
enterprise  and  formation  of  colonial  systems.  Secondly,  the  exhibits 
showed  the  best  methods  of  teaching  and  dealing  with  natives,  with  a 
view  to  spreading  among  them  the  knowledge  possessed  by  civilized 
nations,  and  to  facilitate  commercial  relations;  also  teaching  in  col¬ 
onies  with  a  view  to  developing  colonial  resources,  and  for  promoting 
public  welfare.  Then  there  were  colonial  expeditions,  explorations, 
commercial  and  scientific  collections  formed  by  travellers. 


43$ 


THE  PA'RIS  EXPOSITION. 


In  a  building  to  itself  was  found  Class  114,  consisting  of  colonial 
buildings  and  appliances.  Here  were  the  buildings,  materials,  and 
special  systems  of  construction  adopted  by  the  colonies.  Here  too  were 
native  dwellings,  palaces,  public  and  religious  buildings,  bazaars,  huts, 
and  thatched  huts,  commercial  buildings,  warehouses,  godowns,  colon¬ 
ists’  dwellings,  bungalows,  houses,  hotels,  and  sanatoriums,  and  de¬ 
fensive  buildings  and  enclosures.  Implements  and  means  of  transport 
by  land  and  water,  specially  adapted  for  countries  which  are  being 
opened  up,  were  also  shown. 

Class  1 15  consisted  of  special  products  suitable  for  export  to  col¬ 
onies.  Here  were  merchandise  specially  adapted  for  consumption  in 
countries  which  are  being  opened  up,  goods  for  export,  barter,  and  ex¬ 
change,  and  the  means  of  handling  this  class  of  merchandise,  also 
methods  for  the  consignment  of  goods.  Weights,  measures,  and  mone¬ 
tary  systems  in  use  in  the  colonies  could  have  been  studied,  together 
with  information  concerning  the  value  of  exchanges. 

But  interesting  as  was  the  Group  devoted  to  Colonization  as  classi¬ 
fied  in  the  Colonial  Building,  it  was  vastly  more  so  from  an  objective 
standpoint  as  set  forth  in  the  Trocadero  gardens  by  means  of  the 
separate  colonial  pavilions.  The  entire  spaces  of  the  Trocadero  were, 
in  a  measure,  devoted  to  the  project  of  Colonization.  Crossing  the 
Bridge  Jena,  and  entering  the  gardens,  one  found  the  left  side  occu¬ 
pied  by  pavilions  illustrating  the  scheme  of  French  colonization,  while 
the  right  side  was  set  apart  for  pavilions  illustrating  the  colonization 
projects  of  other  countries.  Because  one  was  on  French  soil,  and  in  a 
spirit  of  deference,  one  naturally  took  to  the  left,  and  went  about  the 
sight-seeing  of  what  France  had  to  present. 

ALGERIA: — Sight  of  the  Algerian  Section  of  the  Exposition 
suggested  the  curious  and  cruel  terrorism  of  the  Algerine  pirates  in 


/ 


PALACE  OF  BELGIUM.  PAVILION  OF  THE  TRANSVAAL. 


COLONIZATION. 


441 


the  Mediterranean  for  a  period  of  three  centuries;  their  renunciation  of 
Turkish  allegiance  in  1705;  the  capture  of  their  capital  by  France,  in 
1830;  the  establishment  of  an  Algerian  civil  administration  under  a 
French  protectorate,  in  1871;  the  great  prosperity  of  the  colony  ever 
since.  The  Algerian  section  consisted  of  two  main  buildings,  or  rather 
of  two  series  of  buildings,  parallel  to  each  other,  and  standing  on 
either  side  of  the  entrance  to  the  Trocadero  grounds,  as  one  passed  in 
from  the  Jena  Bridge.  The  general  effect  was  that  of  a  street,  lined  on 
both  sides  by  Algerian  structures  and  peopled  by  Algerian  people. 

The  right  hand  pavilion,  or  series  of  structures,  contained  the 
official  exhibits  of  the  colony;  that  on  the  left  the  various  character¬ 
istics.  Both  pavilions  were  the  architectural  creations  of  M.  Ballu, 
who  in  the  conception  and  execution  of  the  Trocadero  part  of  the  Ex¬ 
position  gave  admirable  proof  of  his  taste  and  ingenuity.  The  main 
entrance  of  the  official  pavilion  was  approached  by  a  stately  flight  of 
steps  flanked  by  a  graceful  minaret  decorated  with  faiences,  a  repro¬ 
duction  of  the  mosque  of  the  Sultan  Bacha  at  Oran.  Two  inscriptions 
in  faience  ran  along  the  facade.  The  architectural  originality  of  this 
building,  with  its  balustrades  and  Moorish  cupolas,  was  worthy  of 
special  note.  At  night,  when  lighted  up  by  three  thousand  electric 
lamps,  the  effect  was  magical.  The  lateral  portions  of  the  building 
were  of  varying  heights,  the  loftiest,  with  its  veranda  and  colonnades — 
the  one  straight,  the  others  semicircular — being  especially  pleasing. 
The  great  centre  cupola,  copied  from  that  of  the  Mosque  of  the  Fish¬ 
ermen  at  Algiers,  was  lighted  up  at  night  as  if  for  the  feast  of  Ramadan. 
Finally,  the  end  of  the  pavilion  was  formed  by  a  veranda  modelled 
after  one  in  the  Street  of  State,  Algiers. 

The  first  thing  that  claimed  admiration  on  entering  this  base¬ 
ment  was  the  exceedingly  charming  Moorish  Court,  400  feet  square, 


21 


442 


THE  PARIS  EXPOSITION. 


on  which  M.  Ballu  had  lavished  all  his  artistic  skill.  It  was  the  repro¬ 
duction  of  a  hall  in  the  Museum  of  Antiquities  at  Algiers,  and  contained 
a  most  interesting  collection  of  historical  relics,  plaster  casts  from  the 
ruins  of  Timgad,  Tebessa,  and  Tlemcen,  of  statues  from  the  museums 
of  Chercell  and  of  Algiers,  and  a  large  assortment  of  sketches  and 
drawings  of  every  description.  In  a  continuation  of  the  Moorish  Court 
was  an  exhibition  of  Algerian  wines,  and  to  the  left  of  this  an  Algerian 
wine  or  drinking  cellar. 

One  ascended  to  the  second  story  by  a  handsome  staircase  pro¬ 
fusely  decorated  with  casts  from  Sidi-Boum-Edhim  (near  Tlemcen), 
and  the  ceiling  copied  from  the  “Ma-Brah  of  the  Cadi”  in  the  Mosque 
of  the  Fishermen  at  Algiers.  Here  the  first  gallery,  effectively  deco¬ 
rated  with  plants  and  rugs,  led  on  the  right  to  the  Hall  of  Engineering 
and  Public  Works,  and  on  the  left  to  the  Hall  of  Instruction;  a  small 
loggia  beside  the  latter  was  devoted  to  the  Winter  Resort  Committee 
of  Algiers.  Close  by  was  the  Press  Room,  where  all  the  Algerian  news¬ 
papers  and  other  publications  could  be  seen. 

In  the  Gallery  opening  off  the  right  of  the  Moorish  Court  was  the 
exhibition  of  the  “Credit  Fonder”  of  Algiers,  with  an  extremely  strik¬ 
ing  picture  by  Noiret  of  the  Baths  of  Hamnam-Rirha.  From  this  one 
passed  on  to  the  Picture  Gallery,  where  there  was  a  collection  of  the 
works  of  Algerian  and  Franco-Oriental  artists,  a  room  simply  alive  with 
light  and  color  emanating  from  the  admirable  scenes  of  Algerian  life 
with  which  the  walls  were  hung.  Next  came  the  Large  Hall  devoted 
to  the  Exhibition  of  Forestry.  Half  of  this  was  reserved  for  the  Gov¬ 
ernment,  half  for  private  enterprise.  Here  the  magnificent  specimens 
of  one  of  the  chief  sources  of  Algerian  revenue  could  not  fail  to  com¬ 
mand  admiration,  more  especially  the  samples  of  cork-tree,  pine  and 
cedar.  Then  came  a  charming  Little  Vaulted  Hall,  a  reproduction  of 


COLONIZATION. 


443 


part  of  the  Mosque  of  Abd-el-Kader  at  Mascara.  In  the  centre  was  a 
gorgeous  flower-bed  surrounded  by  four  others  filled  with  rare  and 
exquisite  plants,  while  the  walls  were  hung  with  pictures  representing 
scenes  of  Algerian  husbandry:  ploughing,  sowing — both  in  the  Arabian 
and  the  French  methods — reaping  and  threshing;  the  vintage,  wine 
treading,  olive  pressing;  gathering  the  date  and  orange  harvests,  sink¬ 
ing  an  artesian  well  in  the  desert,  the  extraction  of  phosphates,  etc. 
Samples  of  the  various  agricultural  products  of  the  country,  wheat, 
barley,  maize,  sorghum,  etc.,  were  displayed  on  tablets  on  the  numerous 
stands  in  the  Hall. 

Then  one  came  to  the  Hall  containing  the  Collective  Exhibition 
of  the  Agricultural  Societies.  To  the  left  were  the  various  tobaccos, 
to  the  right,  leather  and  wool.  Finally  one  glanced  at  the  exhibition 
of  native  handicrafts; — embroideries,  carpets,  jewelry,  bric-a-brac. 

After  this  inspection  of  the  Official  Pavilion,  one  crossed  the  cen¬ 
tral  avenue,  or  street,  of  the  Trocadero,  and  took  in  the  scenes  of 
the  left-hand  Algerian  pavilion.  Here  one  found  mingled  rest  and 
enjoyment.  In  a  handsome  Moorish  structure  was  arranged  a  Ste- 
orama,  an  ingenious  invention  by  means  of  whose  peculiar  arrange¬ 
ment  of  painted  canvas  and  raised  scenery  which  slowly  revolved  round 
the  spectator,  one  could  travel  at  ease  and  without  fear  of  sea-sickness 
along  the  coast  of  Algiers,  forgetting  entirely  the  fact  that  one  was 
still  on  the  banks  of  the  Seine  in  the  enchanting  picture  of  the  Mediter¬ 
ranean  as  it  faces  the  beautiful  Algerian  shores.  The  journey  began 
in  the  harbor  of  Bona;  it  was  early  dawn,  the  first  faint  rays  of  the 
rising  sun  lightly  touched  the  sails  of  the  little  fishing  boats,  but  by 
the  time  one  entered  the  magnificent  gulf  of  Bongiah,  sea  and  sky 
were  one  dazzle  of  blue.  Presently  Algiers  appeared  in  view,  blinding 
white  under  the  blaze  of  the  mid-day  sun.  As  the  voyage  proceeded 


444 


THE  PARIS  EXPOSITION. 


the  waves  rose  a  little  under  a  ruffling  breeze ;  slowly  the  sun  sank  to 
the  horizon,  the  golden  shafts  of  light  turned  to  crimson  and. purple 
as  they  gleamed  upon  the  heights  of  Oran.  The  journey  was  ended. 

The  Diorama  provided  by  MM.  Noiret  and  Galand  was  no  whit 
less  interesting.  Here  one  saw  the  ridge  of  Sfa  with  Biskra  in  the 
distance,  and  the  measureless  waste  of  desert  all  purple  under  the  set¬ 
ting  sun.  Near  Sidi-Boum-Edhim  one  had  a  view  of  the  famous 
ravine  of  Constantine  and  of  the  picturesque  gorges  of  the  Rummel. 

In  the  last  three  pictures  one  got  a  glimpse  of  savage  Djurdjura 
in  Kabylai,  the  panorama  of  Algiers  seen  from  the  higher  Mustapha, 
and  lastly  the  Port  of  Algiers,  and  the  starting  of  the  Marseilles  mail- 
boat.  One  concluded  with  a  visit  to  the  Arab  Quarter.  It  would  have 
been  difficult  to  conceive  anything  more  quaintly  original  and  pictur¬ 
esque  than  this  steep  and  tortuous  street,  its  overhanging  balconies 
almost  meeting  on  either  side,  the  houses  drawing  ever  closer  as  the 
ground  rises.  On  both  sides  of  the  narrow  lane  were  little  dim  shops 
in  which  were  native  workmen  busy  at  their  trades,  or  merchants 
eagerly  offering  their  wares. 

TUNIS: — Further  to  the  left  in  the  French  Colonial  Section,  and 
parallel  with  the  Algerian  pavilions,  came  the  section,  buildings  and 
scenes  representing  the  colony  of  Tunis,  which  forms  one  of  the  most 
important  parts  of  the  French  colonial  empire.  No  stint  was  spared  by 
the  organizers  of  the  Exposition  to  make  this  section  attractive  to 
the  public.  It  covered  an  area  extending  over  16,000  square  yards, 
and  was  a  complete  miniature  Arab  town,  on  which  the  architect, 
Saladin,  had  expended  great  ingenuity.  One  could  not  help  admiring 
the  Mosque  of  Sidi-Mahrez,  Tunis;  the  pavilion  of  Manouba  in  the 
center  of  the  lovely  garden;  and  the  bold  minaret  of  Sfax,  overlooking 
the  whole.  The  particular  exhibits  were  placed  in  the  Mosque  Sidi- 


. 


7 


PAVILION  OF  HUNGARY. 


COLONIZATION. 


447 


Mahrez,  which  covered  an  area  of  nearly  5,000  square  feet.  Exhibits 
of  the  products  of  Tunis  and  her  local  industries  were,  as  far  as 
possible,  contained  in  a  special  hall.  In  it  one  found  the  oleaginous 
substances  and  preparations  made  from  them,  such  as  soaps  and  dyes, 
perfumes  and  essences,  uncarded  wool,  linseed  from  Soussa,  alfas,  pro¬ 
duce  of  the  woods  and  cork  forests,  early  vegetables  and  fruit  from 
Algeria,  etc. 

The  Committees  of  Public  Instruction,  Public  Works  and  Mines 
exhibited  documents  containing  valuable  information,  and  the  repro¬ 
duction  of  important  works,  which  were  either  already  finished  or  in 
contemplation.  The  Committee  of  Arts  and  Antiquities  had  a  costly 
shipload  of  casts,  taken  on  the  spot,  sent  over.  Archaeology  proper 
vas  abundantly  represented.  M.  Gaukler  and  his  colleagues,  who  are 
diligently  extracting  historical  wealth  from  the  soil,  had  forwarded 
some  interesting  exhibits,  among  which  was  a  Carthaginian  tomb  in 
wonderful  preservation.  On  the  other  hand,  private  industry  had  not 
been  backward.  Private  exhibitors  had  come  forward  in  large  num¬ 
bers.  In  the  first  place  were  vine  growers,  for  the  tasting  of  whose 
goods  the  vault  under  the  mosque  of  Sidi-Mahrez  had  been  set  apart. 
Then  came  the  manufacturers  and  producers  of  oil,  both  European 
and  native,  of  carpets  and  rugs  from  Kairouan  and  Cassa,  sponge  fish¬ 
ers  from  Djerba  and  the  Sfax  coast,  and  makers  of  Tunis  wares.  Lastly, 
the  Chambers  of  Agriculture  and  Commerce  had  a  joint  exhibition  of 
the  manufactures  of  the  great  Tunisian  centres,  Tunis,  Soussa  and  Sfax. 

One  was  much  interested  in  the  picturesque  reproduction  of  the 
“Souks, ”  a  scene  of  a  mussulman  merchant’s  every-day  life.  “Souks” 
were  interminable  rows  of  curious  little  shops  and  stalls,  where  the 
Tunisian  workmen  manufactured  the  thousand  and  one  articles  o^ 
local  industry.  Arranged  side  by  side  one  found  potters  from  Nabeval, 


44§ 


THE  PARIS  EXPOSITION. 


weavers  from  Gassa,  carpet  manufacturers  and  braziers  from  Kairouan, 
enamellers  from  Mokuin,  and  shoemakers  from  Beza.  Not  far  off  were 
bonbon  sellers,  pastry  cooks,  and  purveyors  of  sweetmeats.  Still  fur¬ 
ther  on  one  found  a  burnous  maker,  a  perfumer,  an  artist,  who  deco¬ 
rates  jugs,  a  jeweler,  a  goldsmith,  a  cabinet  maker,  a  fan  manufacturer, 
and  a  barber,  all  busily  engaged  in  their  various  occupations,  and  as  a 
rule  making  a  dreadful  clatter. 

SENEGAL  AND  THE  SOUDAN: — Senegal  is  one  of  the  oldest 
French  colonies.  The  Palace  which  represented  it  and  the  Soudan, 
stood  on  the  Seine  front  of  the  Trocadero,  and  was  modelled  from 
the  mosques  and  residences  of  the  chiefs  of  Senegal  and  Soudan.  It 
was  very  monumental  in  appearance,  and  around  it  were  erected 
models  of  native  dwellings,  in  which  artisans  from  Senegal,  jewelers, 
smiths,  weavers,  etc.,  worked  before  the  public.  The  various  services 
of  the  colony  appeared  in  the  exhibits  in  the  shape  of  notices,  statis¬ 
tics,  and  diagrams. 

The  collections  made  by  different  missions  showed  the  resources 
of  fauna  and  flora  of  the  colony.  The  products  were  very  numerous — 
millet,  maize,  rice,  and  manioc  which  forms  the  principal  food  of  the 
natives;  very  white  and  tough  cotton,  indigo,  a  great  variety  of  forest 
trees,  such  as  baobab,  cailcedra  or  false  mahogany,  silk-cotton  trees, 
etc.  There  were  also  gums,  chief  articles  of  export;  ground-nuts,  oily 
seeds  of  the  cocoa-tree,  India-rubber.  Other  interesting  exhibits 
showed  how  gathering,  cultivation  and  harvesting  were  conducted, 
together  with  the  mode  of  transport  in  the  colony.  Native  industry 
was  fully  represented  by  collections  of  arms,  jewels,  textile  fabrics, 
leather-work,  pottery,  musical  instruments,  paintings  of  Soudanese  sub¬ 
jects,  manikins  dressed  in  different  native  costumes,  skins  of  ani¬ 
mals,  etc. 


COLONIZATION. 


449 


FRENCH  INDIES: — The  word  India  conjures  up,  in  the  pro¬ 
saic  and  sober  mind,  visions  of  sun,  perfume  and  beauty.  It  stirs  the 
imagination  to  dreams  of  pagodas  with  their  open-work  carvings,  fear¬ 
ful  idols  in  jade  and  porphyry,  transparent  fishponds  surrounded  by 
marble  balustrades,  bamboo-roofed  braziers,  palinquins  and  white  ele¬ 
phants  carrying  on  their  backs  gorgeous  howdahs.  All  these  visions 
and  dreams  might  have  been  realized  in  the  colonial  structures  of  the 
French  Indies,  which  stood  to  the  left  of  that  of  Senegal  and  Soudan, 
in  the  Trocadero.  Here  was,  first,  the  official  Palace,  of  Hindu  archi¬ 
tecture,  in  which  Indian  products  were  exhibited,  and  in  which  native 
artisans — goldsmiths,  wood-turners,  silk-weavers,  etc. — were  seen  at 
work.  Secondly,  a  large  Pagoda  arose,  which  reproduced  in  its  fan¬ 
tastic  architecture  and  gorgeous  ornamentation  a  real  Hindu  temple. 
Thirdly,  a  theatre  was  seen,  where  Hindu  artists  gave  performances  of 
dancing,  slight  of  hand,  snake-charming,  magic  and  incantation. 
Fourthly  there  appeared  a  typical  Hindu  street,  lined  with  bazaars  and 
stalls,  and  native  attendants,  and  Oriental  attractions  of  every  kind. 

DAHOMEY: — The  group  of  buildings  representing  the  French 
colony  of  Dahomey  stood  next  to  those  of  the  French  Indies,  and 
faced  the  Delessert  Boulevard.  The  principal  pavilion  was  a  repro- 
\  duction  of  the  Tower  of  Sacrifice  of  Abomey.  The  main  entrance  to 
it  was  through  the  Tata,  with  its  conspicuous  round  tower  and  high 
porch.  Its  thatched  roof  bristled  with  pikes  on  which  were  stuck  the 
actual  skulls  of  slaves  executed  before  the  eyes  of  Bahanzin.  Beyond 
the  entrance  was  an  immense  hall  devoted  to  the  official  exhibition  of 
the  Colony,  and  containing  an  interesting  collection  of  maps,  plans, 
statistics,  historical  documents,  geological  specimens,  photographs,  etc. 
The  decorations  of  the  hall  were  copied  from  native  paintings  and 
sculptures,  and  were,  therefore,  crude. 


THE  PARIS  EXPOSITION. 


4$a 

Opening  from  this  hall  was  one  devoted  to  private  exhibits. 
Around  the  halls  ran  wide,  airy  verandas,  for  public  use.  At  their 
farther  end  was  a  very  interesting  museum  illustrative  of  fetichism. 
Here  were  thrones  of  the  Kings  of  Abomey,  symbolic  figures  of  strange 
gods,  royal  vestments,  instruments  of  torture,  and  other  direful  curiosi¬ 
ties.  On  certain  days  one  had  the  privilege  of  witnessing  the  rites  of 
fetichism,  performed  by  haggish  witch-doctors  and  priests  in  their 
native  costumes.  Around  the  pavilion  were  erected  native  huts  in  which 
the  blacks  were  busily  employed  in  their  accustomed  occupations,  while 
on  a  piece  of  artificial  water  were  a  few  “pirogues”  (boats),  from  which 
the  natives  performed  marvellous  fishing  and  swimming  feats. 

IVORY  COAST: — Close  by  Dahomey  stood  the  Ivory  Coast 
pavilion,  surrounded  by  its  spacious  veranda.  It  was  raised  from  the 
ground  and  ventilated  by  four  large  doors.  The  interior  of  the  hall 
contained  collections  sent  by  the  Government  of  the  Colony  and  other 
exhibitors.  The  wall  decorations  were  conceived  so  as  to  bring  out 
the  nature  of  the  resources  and  the  geographical  constitution  of  the 
Colony.  The  collections  embraced  the  precious  woods  of  the  Colony, 
India-rubber  and  other  gums,  mineral  resources,  together  with  the 
means  of  getting  them  to  the  ports,  and  of  shipment.  Then  there  were 
extensive  wall-maps,  showing  how  extensively  the  working  of  ma¬ 
hogany,  India-rubber,  palm-oil  and  gold  have  developed  every  year. 
There  was  also  a  fine  ethnographic  display,  and  a  magnificent  display 
of  native  gold  jewels. 

GUINEA: — Adjoining  the  Ivory  Coast,  and  facing  the  Delessert 
Boulevard,  stood  the  Guinea  pavilion,  a  reproduction  of  two  circular 
native  huts,  two  stories  high,  and  connected  by  a  large  open  gallery, 
whose  conical  roof  was  thatched  after  the  Sousson  style.  The  Colony’s 
exhibition  consisted  of  the  various  products  of  Guinea  and  the  resources 


COLONIZATION. 


45 1 


offered  to  merchants  and  colonists.  On  the  ground  floor  were  found 
the  principal  products  and  articles  of  local  industry.  A  large  relief  map 
and  numerous  photographs  gave  the  latest  information  respecting  the 
general  features  of  the  country.  On  the  second  story  were  the  private 
exhibits,  such  as  Kola-nut,  raw  caochouc,  ground-nuts,  various 
special  woods,  gold-dust,  ivory,  baskets  and  other  articles  of  esparto. 
Around  the  building  many  very  interesting  and  picturesque  objects 
were  seen.  At  the  entrance  a  native  police  or  militia  station  was  con¬ 
structed  of  rows  of  palm  stakes  backed  up  by  earth.  Inside  of  this 
fortification  stood  a  native  hut  built  after  the  model  of  those  of  the 
sharpshooters  of  Konraki.  A  garden  in  front  of  the  fortress  contained 
specimens  of  native  cultivation — manioc,  millet,  ground-nuts,  banana, 
rice,  coffee,  cocoa,  cabbage,  India-rubber,  etc.  Quite  near  the  Guinea 
pavilion,  stood  a  smaller  one  representing  the  West  African  Company 
of  France;  and  another  representing  the  French  Alliance  Company. 
In  both  of  these  were  class-rooms  where  occasional  lectures  were  giver 

THE  DIORAMA: — Having  seen  the  French  colonial  section  to 
the  south  of  the  Delessert  Boulevard,  one  now  crossed  it  to  the  north 
side,  and  immediately  came  upon  an  imposing  structure  called  the 
Diorama,  in  which  were  installed  the  exhibits  of  minor  French  colonies, 
to  which  no  separate  pavilion  had  been  assigned.  The  first  of  these 
colonies  were  the  two  islands  of  St.  Pierre  and  Miquelon.  They  were 
represented  by  a  diorama,  and  by  such  displays  as  set  forth  the  cod¬ 
fishing  and  other  limited  industries,  and  the  characteristics  of  the 
people. 

A  second  of  these  colonies  was  the  Comoro  archipelago,  situated 
in  the  Indian  Ocean,  half  way  between  the  East  coast  of  Africa  and  the 
island  of  Madagascar.  In  a  hall  of  the  Diorama  were  displayed  the  chief 
native  industries  of  Comoro — colored  mats,  fine  basket  work,  carved 


THE  PARIS  EXPOSITION. 


45* 

tables  and  stools,  artistic  pottery,  cocoanut  fibre  ropes,  native  jewelry 
and  weapons.  Here  too  were  the  industrial  products  of  the  islands — 
rum,  vanilla,  sugar  cane,  rice,  yarns,  bananas,  cocoa,  coffee,  tobacco, 
pepper,  cloves,  etc.  On  the  left  of  the  hall  a  diorama  showed  a  sugar j 
factory  in  operation,  the  foreground  being  the  appliances  and  opera¬ 
tives  at  work;  the  background  a  rocky  mountain,  the  sea,  native  vil¬ 
lages,  and  far-stretching  sugar  plantations  at  harvest  time. 

A  third  of  these  colonies  was  that  of  Somali.  Two  of  its  structures 
stood  in  front  of  the  Diorama.  They  contained  exhibits  of  the  camp 
and  outfit  necessary  to  a  crossing  of  the  desert.  Then  a  fine  stone 
staircase,  decorated  with  elephants’  tusks,  led  up  to  a  hall  containing 
ethnological  groups  representative  of  Abyssinia  and  Somaliland. 
Another  hall  contained  an  interesting  diorama  of  a  caravan  march, 
articles  of  import  and  export,  picturesque  views  of  Somaliland,  dio- 
ramic  maps,  and  a  splendid  series  of  photographs  of  the  colony  and 
neighboring  regions. 

INDO-CHINA: — To  the  rear  of  the  Diorama  came  the  extensive 
exhibits  embraced  under  the  head  of  the  French  colonies  of  Indo- 
China.  These  comprehended,  either  in  groups,  or  in  separate  sec¬ 
tions,  the  countries  of  Cochin-China,  Cambodia,  Laos,  Annum,  and 
Tonquin.  The  Indo-China  exhibition,  considered  as  a  whole,  com¬ 
prised  five  principal  buildings,  or  groups  of  buildings,  to  wit:  I.  The 
grand  Palace  of  the  Produce  of  Indo-China,  a  reproduction  of  the  mag¬ 
nificent  pagoda  of  Cho-Lon.  2.  The  Palace  of  Industrial  Arts,  a  re¬ 
production  of  the  Palace  of  Co-Loa,  in  Tonquin.  3.  A  Pavilion  of 
Forestry,  a  reproduction  of  a  house  in  Annam.  4.  The  Pnom,  a  re¬ 
production  of  the  hill  and  royal  pagoda  of  Pnom-Penh,  in  Cambodia. 
5.  The  Indo-Chinese  Theatre.  One  naturally  visited  these  in  the  order 
here  stated. 


COLONIZATION. 


453 


First,  then,  came  the  Pagoda  of  Cho-Lon,  or  Palace  of  the  Pro¬ 
duce  of  Indo-China,  wherein  were  seen  the  agricultural  and  industrial 
products  of  all  Indo-China,  that  is,  of  Tonquin,  Annam,  Laos,  Cam¬ 
bodia,  Cochin  China,  and  the  new  province  of  Quang-Tcheon-Wan. 
These  products  were  such  as  rice,  arack,  tea,  coffee,  cocoa,  wax,  honey, 
indigo,  sugar  cane,  dye-woods,  cotton,  oils,  ground-nuts,  fish,  areca, 
ivory  and  bone,  various  textile  plants,  raw  silk,  betel,  terracotta,  opium, 
tobacco,  matches,  mother-of-pearl,  tortoise-shell,  mats,  weapons,  all 
the  useful  and  precious  minerals,  musical  instruments,  vehicles,  palan¬ 
quins,  junks,  feathers,  etc.  There  were  also  models  of  large  iron  bridges 
and  works  of  Indo-Chinese  art.  The  walls  were  in  places  ornamented 
with  native  sculptures,  and  in  others  with  perspective  plans  of  the  four 
largest  cities  of  Indo-China — Saigon,  Hanoi,  Hue,  and  Pnom-Penh. 
The  pagoda  of  Cho-Lon  is  one  of  the  wonders  of  Cochin  China,  and 
was  hardly  less  a  wonder  as  reproduced  at  the  Exposition.  Around 
this  miniature  was  collected  an  animated  and  curious  Chinese  town, 
with  its  narrow  streets  lined  with  shops,  lit  at  nights  with  red  Chinese 
lanterns,  and  thronged  with  Celestials  carrying  their  tiny  lamps. 

The  next  visit  was  to  the  pagoda  of  Co-Loa,  or  Palace  of  Indo- 
Chinese  Industrial  Arts.  It  was  a  complicated,  though  elegant,  struc¬ 
ture,  whose  spacious  galleries  were  filled  with  the  industrial  arts  of 
Indo-China — drawings,  engravings,  illustrated  books,  pictures,  paint¬ 
ings,  fans,  screens,  parasols,  articles  of  worked  tortoise-shell,  worked 
silks,  embroideries,  furniture,  toys,  carved  work,  lacquered-ware,  orna¬ 
mental  feathers,  earthenware,  porcelains,  gold,  silver,  tin  and  bronze- 
work,  basket-work,  leather-work,  costumes. 

The  visit  was  next  in  order  to  the  Pavilion  of  Forestry,  a  graceful 
reproduction  of  an  Annam  house,  whose  pieces  were  brought  all  the 
way  from  the  river  Saigon.  Here  were  exhibited  the  forest  products 


454 


THE  PARIS  EXPOSITION. 


of  all  the  Indo-Chinese  provinces — rattan,  teah-tree,  cam-lai,  trac,  boloi, 
etc. — a  most  interesting  exhibit  in  a  building  of  great  architectural 
taste. 

Then  one  visited  the  real  centre  of  the  Indo-Chinese  exhibition — 
the  curious,  picturesque  and  enchanting  Cambodian  hillock  on  which 
was  reared  the  King’s  Pagoda,  or  Pagoda  of  Pnom-Penh,  a  splendid 
building,  all  gold,  bas-reliefs  and  statues.  A  monumental  staircase, 
bordered  by  coiled  dragons,  led  to  the  terrace  on  which  the  pagoda 
stood.  The  staircase  was  flanked  by  smaller  Pnoms.  On  the  threshold 
of  the  pagoda  rose  an  immense  golden  Buddha  20  feet  high.  A  pro¬ 
fusion  of  rich  ornamentation,  an  inextricable  medley  of  allegorical 
figures  and  lotus  flowers,  garlands  and  fantastic  animals,  half-monsters, 
half-deities,  gave  this  pagoda  a  remarkable  appearance  of  religious  art. 
Rocks  and  groves  protected  the  approach  to  the  inaccessible  deity, 
whom  even  the  Brahmas  and  true  believers  could  only  reach  by  climb¬ 
ing  the  splendid  staircase  of  over  forty  steps.  Under  the  hill  on  which 
the  pagoda  stood  was  the  most  remarkable  piece  of  workmanship  in 
the  whole  Exposition.  It  was  a  large  grotto  whose  vaultings  were  sup¬ 
ported  by  decorated  pillars,  and  it  contained  a  series  of  dioramas  repre¬ 
senting  magnificent  views  of  Indo-Chinese  scenery.  In  order  to  im¬ 
part  the  appearance  of  isolation  and  mystery  suitable  to  the  temple,  a 
garden  filled  with  lovely  flowers  from  the  Far  East  wound  round  the 
base  of  the  hill  of  Pnom-Penh,  surrounding  the  house  of  prayer  with 
a  fence  of  exotic  foliage,  thereby  protecting  it  from  profane  sounds. 
A  few  authentic  architectural  ruins  from  Khmer  gave  an  appearance  of 
originality  and  genuineness  to  these  artificial  and  charming  spots; 
while  a  Cambodian  Village,  formed  of  huts  built  on  bamboo  piles,  im¬ 
parted  an  element  of  life  and  activity  to  this  Asiatic  quarter  of  the 
Exposition. 


INTERIOR  OF  ITALIAN  PALACE. 


COLONIZATION. 


457 


Lastly,  one  came  to  the  Indo-Chinese  Theatre,  a  fine,  harmonious 
structure,  whose  roof  was  crowned  with  a  tower,  and  whose  entire 
facade  was  ornamented  with  pleasing  designs.  It  was  sumptuously 
furnished  on  the  inside  with  accumulations  of  native  weapons,  instru¬ 
ments,  bronzes  and  knick-knacks.  Curious  performances  were  given 
therein,  reminding  one  partly  of  the  performances  in  the  theatre  at 
Phu  and  Cho-Lon,  and  partly  of  the  picturesque  dances  at  Norodon. 
The  Cambodian  dancers  were  like  pleasing  and  graceful  little  dolls, 
graceful  in  motion  and  figure,  and  quaintly  costumed  in  embroidered 
tinsel. 

In  passing  back  toward  the. Seine,  one  came  upon  the  Tonquin 
Village,  somewhat  detached  from  the  central  group  of  Indo-Chinese 
palaces.  This  village  consisted  of  some  ten  huts,  in  which  the  natives 
carried  on  their  trades  of  mat-making,  silk  weaving,  embroidery  work, 
inlaid  work,  etc.,  in  public  and  gladly  disposed  of  their  wares. 

GUADELOUPE: — The  exhibition  pavilion  of  the  colony  of 
Guadeloupe  stood  to  the  left  of  the  Cambodian  section  of  Indo-China. 
It  rose  simple  and  fairy-like  from  a  clump  of  tropical  plants,  and  with 
its  spacious  veranda,  presented  the  illusion  of  a  Creole  house,  sur¬ 
rounded  with  lawns,  whose  walks  were  bordered  with  shells.  The  ex¬ 
hibition  room  was  elaborately  decorated  in  styles  of  the  country,  and 
divided  into  four  sections.  Sugar  occupied  the  first  section,  in  its 
various  colors,  qualities  and  methods  of  cultivation  and  manufacture. 
The  second  section  exhibited  coffee,  cocoa,  vanilla,  spices,  and  count¬ 
less  other  native  products.  It  also  showed  the  fruits  of  the  country — 
pineapples,  bananas,  mangos,  oranges,  lemons,  etc.  The  third  r^om 
was  given  up  to  industrial  products,  such  as  arrack,  rum,  etc.  In  the 
fourth,  were  displays  of  photographs  of  Guadeloupe  scenery,  of  the 


458  THE  PARIS  EXPOSITION 

birds  and  fishes,  of  weapons,  primitive  and  modern,  and  of  various 
utensils. 

MARTINIQUE. — Close  by  Guadeloupe  stood  the  quaint  pavilion 
of  Martinique,  one  of  the  oldest  of  the  French  colonies.  It  was  a 
squatty  building  with  turrets  at  its  ends,  and  its  three  front  bay  win¬ 
dows  looked  upon  an  interior  known  as  the  Hall  of  Caffes.  Back  of 
this  was  the  hall  of  exhibits,  filled  with  the  tropical  products  of  the 
country,  sugar,  coffee,  vanilla,  cocoa,  cotton,  maize,  almonds,  bananas; 
also  minerals,  and  collections  of  photographs  of  scenery.  The  Bam- 
boula,  a  famous  dance  of  the  country,  was  represented  by  groups  of 
wax  figures,  and  a  phonograph  reproduced  for  the  benefit  of  visitors 
a  selection  of  Creole  airs,  some  of  which  were  stirring  and  full  of  life, 
while  others  were  sad  and  sentimental. 

LA  REUNION: — The  pavilion  of  this  little  island  colony  was 
close  by  that  of  Guadeloupe,  and  strikingly  resembled  it.  Its  interior 
contained  a  rich  display  of  the  agricultural  and  industrial  wealth  of  the 
island,  such  as  coffee,  vanilla,  sugar-cane,  cacao,  tobacco,  spices,  edible 
plants,  essences,  quinine,  and  gutta-percha.  The  vine  has  been  recently 
introduced  into  this  island.  The  principal  industry  of  the  island  is, 
however,  sugar,  which  has  somewhat  declined  in  importance  owing  to 
increased  wages. 

NEW  CALEDONIA: — The  exhibition  of  the  Colony  of  New 
Caledonia  was  in  a  square  pavilion,  at  the  upper  end  of  the  Trocadero 
Gardens.  The  interior  was  entered  by  four  doors,  and  was  colored 
in  blue,  t-he  ceiling  being  of  white.  In  the  centre  of  the  hall  was  a  map 
of  New  Caledonia  in  relief,  and  the  sides  were  filled  with  glass  cases 
containing  the  exhibits — coffee,  India-rubber,  tobacco,  vanilla,  oily 
shrubs,  ginger,  gums;  minerals,  such  as  nickel,  copper,  chrome,  cobalt, 
and  processes  of  mining  and  working  them;  essences  extracted  from 


COLONIZATION. 


459 


woods,  and  such  woods  as  sandal-wood,  rosewood,  oak,  cork,  etc.  All 
the  wood  in  this  pavilion  was  transported  from  the  colony. 

FRENCH  CONGO: — In  a  corner  of  the  Trocadero  Gardens 
called  Swiss  Valley,  stood  the  pavilion  of  the  French  Congo  Colony- 
It  overlooked  a  piece  of  water  on  which  floated  a  curious  native  pirogue. 
The  lower  or  wooden  part  of  the  pavilion  formed  an  open-work  room, 
in  which  enormous  logs  of  precious  woods  were  exhibited,  either  sent 
by  the  colony  or  by  private  persons.  The  upper  or  iron  part  formed  a 
large  room,  which,  besides  three  dioramas  painted  by  M.  Castellani, 
contained  articles  of  commerce,  products,  such  as  ivory,  India-rubber, 
mineralogical  and  botanical  collections,  weapons,  native  utensils,  fur¬ 
niture  of  the  country,  articles  and  products  of  import,  textile  fabrics, 
etc.,  etc. 

FRENCH  GUIANA: — The  pavilion  of  French  Guiana  stood  in 
with  those  of  the  old  colonies  of  Martinique  and  Guadeloupe.  Tt  was  a 
one-storied  structure  and  a  reproduction  of  a  typical  building  of  the 
country,  but  was  elegantly  fitted  up  within  with  mahogany  furniture. 
In  the  Large  Room  of  the  Pavilion  were  installed  the  mineralogical 
and  forestry  exhibits — mahogany,  yellow,  brown  and  green  ebony, 
Indian  balata,  white  panacoco,  white  angelica,  rosewood,  etc.  Among 
the  secondary  products  of  the  forest:  gums  and  resins,  textile  fabrics, 
vegetable  oils,  coloring  and  tanning  materials,  etc.  The  exhibition  of 
mineral  products  in  the  same  hall  comprised  phosphates,  ores,  and  the 
products  of  the  gold  industry.  This  group  was  particularly  interesting. 
Included  in  it  was  a  collection  of  gold  samples,  in  natural  and  purified 
states,  such  as  ingots,  nuggets,  quartz,  pyrites,  and  limonites,  and 
authentic  specimens  of  the  various  rocks  that  accompany  auriferous 
bearings.  In  the  Glass  Gallery  separating  two  rooms  were  artistically 
mounted  collections  of  birds,  mammals,  reptiles,  and  insects.  Finally, 


460 


THE  PARIS  EXPOSITION. 


a  small  room  was  reserved  for  food  products:  coffee  and  cocoa,  fruit, 
roucou,  rice,  maize,  preserved  fruit  and  vegetables,  rum  and  tafia,  etc. 

MADAGASCAR: — This  large  and  important  French  colony  had 
its  palace  just  outside  of  the  Exposition  enclosure  on  the  square  of 
the  Trocadero.  It  was  an  immense  structure,  of  no  particular  style  of 
architecture,  and  of  three  floors.  On  the  ground  floor  was  found  a 
little  island,  typical  of  Madagascar,  around  which  was  grouped  a  pleas¬ 
ing  selection  of  the  native  flora  and  fauna.  Live  birds  and  monkeys 
enlivened  the  depths  of  this  tropical  vegetation.  The  water  around  the 
island  was  dotted  with  native  canoes,  whose  occupants  paddled  them 
about  among  crocodiles,  pretending  to  fish.  In  and  about  the  palace 
were  lines  of  native  huts  in  which  were  realistically  depicted  the  life  of 
the  islanders — their  trades,  occupations,  methods  of  agriculture,  min¬ 
ing,  fighting,  their  costumes  and  customs,  tribal  characteristics. 

The  carpets  of  the  palace  were  movable  inclines,  by  means  of 
which  one  was  carried  to  the  second  story.  In  one  gallery  were  found 
the  zoological,  racial  and  botanical  exhibits,  also  the  products  of  im¬ 
port  and  export — rice,  coffee,  grain,  fabrics  of  cotton  and  silk,  fibres 
of  various  plants.  Close  by  was  the  exhibition  of  minerals.  Then 
came  artistic  objects,  costumes,  jewels,  diadems,  souvenirs,  all  marvels 
of  patient  work  and  good  taste.  At  the  end  of  a  footbridge  was  an 
orchestra  of  35  Madagascar  musicians  playing  their  native  airs  on 
fantastic  instruments.  There  stood  near  a  model  of  a  native  village, 
inhabited  by  wax  figures  provided  with  all  the  paraphernalia  needed 
by  the  explorer,  merchant  or  tourist,  of  the  island — weapons,  imple¬ 
ments,  instruments,  clothing,  food,  etc.  Then  came  a  caravan  on  the 
march;  a  traveler  in  his  chair  borne  by  natives,  and  attended  by  a 
retinue  carrying  luggage  on  their  heads. 


PALACE  OF  CAMBODIA.  GARDENS  OF  TROCADERO  AND  TRANS- 

SIBERIAN  PALACE. 


\ 


COLONIZATION.  463 

Ascending  to  the  third  story,  one  found  the  exhibits  of  woods, 
forest  products,  public  institutions,  agriculture,  state-works,  etc. 
Here  too  was  a  colossal  panorama  in  three  sections;  the  first  consist¬ 
ing  of  dioramas  representing  the  various  phases  of  the  campaign  by 
means  of  which  French  authority  was  established  over  Madagascar— 
the  landing  and  marching  of  troops,  the  road-building,  the  battles,  the 
sacking  of  towns.  The  second  section  showed  the  bombardment  of 
Tananario,  the  expulsion  of  the  Queen,  the  arrival  of  delegates  to 
make  terms  of  surrender.  The  third  section,  composed  of  four  dio¬ 
ramas,  showed  the  development  of  peace,  the  entry  of  the  French  Gen¬ 
eral  into  Tananario,  the  city  and  surroundings,  forests,  mountains,  etc. 
To  complete  the  illusion,  a  Madagascar  cottage  stood  on  the  platform, 
from  which  the  panorama  could  be  viewed. 

This  completes  the  Colonization  Group,  so  far  as  France  was  con¬ 
cerned.  As  already  mentioned,  the  right  hand  of  the  Trocadero 
grounds,  as  entered  from  the  Jena  Bridge,  was  devoted  to  the  colonies 
of  other  nations.  The  first  to  the  right  were 

ENGLISH  COLONIES:— The  exhibits  illustrative  of  English 
colonization  were  embraced  in  two  large  structures.  One  was  the 
Indian  Palace,  a  really  magnificent  building,  and  a  fine  specimen  of 
Hindoo  architecture.  The  lofty  and  stately  fagade  was  entered  by  a 
gateway  flanked  by  two  towers.  The  grand  staircase  was  elaborately 
decorated.  On  the  left  was  the  Imperial  Court,  in  the  centre  of  which 
stood  an  imposing  trophy  in  carved  wood.  This  was  in  native  designs, 
and  cost  $150,000.  The  interior  was  filled  with  displays  of  Indian 
jewelry,  armor,  arms  and  curios.  In  the  galleries  and  on  the  ground 
floor  of  the  Palace  was  a  series  of  figures  representing  Indian  soldiers 
in  full  costume.  A  large  court  contained  an  amazing  collection  of 
Oriental  ceramics,  gold  and  silver  work,  tissues,  embroideries,  carpets, 


22 


464 


THE  PARIS  EXPOSITION. 


shawls,  etc.  In  connection  with  this  court  was  the  display  of  agricul¬ 
tural  of  India,  and  a  complete  exhibition  of  her  prolific  and  beautiful 
flora  and  fauna. 

To  the  right  of  this  Palace  was  the  Ceylon  Court,  highly  decorated 
and  containing  an  infinite  variety  of  the  products  of  this  large  and 
fruitful  island — precious  stones,  jewelry,  pearls,  etc. 

Across  a  narrow  street,  and  opposite  to  the  Indian  Palace,  arose 
the  second  of  the  structures  devoted  to  English  colonization.  It  was 
the  Colonial  Palace,  an  immense  structure  in  plain  architecture.  In 
one  of  its  spacious  courts  were  found  the  exhibits  of  Canada — furs, 
precious  stones,  fine  displays  of  manufactured  articles,  cereals  of  all 
kinds,  statistical  and  other  books,  in  fact  all  that  tended  to  exemplify 
Canadian  prosperity  and  her  success  as  a  colonial  appendage. 

To  the  right  in  the  Colonial  Palace  was  located  the  Australian 
Court.  Here  were  immense  and  rich  exhibits,  of  Australian  products — 
gold,  silver,  lead,  tin  and  other  minerals;  oils  and  woods;  wool  and 
cereals;  animal  products;  every  variety  of  display  of  this  productive 
island  continent,  and  comparatively  new  experiment  in  English  colon¬ 
ization.  Beyond  the  Australian  Court  stood  numerous  miner  courts 
representing  the  smaller  colonies  of  Great  Britain.  There  were  Gib¬ 
raltar,  British  Honduras,  Windward  Islands,  Trinidad,  Tobago,  Falk¬ 
land  Islands,  Sierra  Leone,  Gold  Coast,  Lagos,  St.  Helena,  Malacca, 
Hong  Kong,  New  Guinea. 

RUSSIAN  ASIA: — On  the  right  of  the  Trocadero,  and  quite  to 
the  rear  of  the  other  colonies,  was  the  immense  space  allotted  to  Siber¬ 
ian  exhibits  and  those  falling  under  the  general  head  of  Russian  Asia. 
Russia  had  no  national  building  in  the  Street  of  Nations,  but  here  she 
made  up  for  her  neglect  to  appear  there,  by  a  monumental  structure 
called  the  Palace  of  Russian  Asia,  to  which  were  added  the  Pavilion  of 


COLONIZATION. 


465 


the  Empress  Marie  and  the  Pavilion  of  the  Ministry  of  War.  The 
grand  Palace  was  an  imposing  mass  of  Byzantine  architecture,  devoted 
chiefly  to  Siberian  exhibits.  It  was  a  gigantic  assemblage  of  towers 
and  battlements,  of  lofty  walls  and  frowning  arcades,  recalling  the 
Kremlin.  The  facade  towards  the  fountains  was  particularly  curious, 
with  its  arched  doorways  surrounded  by  a  band  of  brick.  On  this 
massive  foundation  were  towers,  spread  out  at  the  base  and  narrowing 
at  the  top.  Their  pyramidal  roofs,  yellow,  green,  blue,  set  off  with 
gold,  were  surmounted  by  spires  bearing  a  double-headed  spread  eagle. 
The  whole  architecture  of  this  place  was  inspired  by  the  best  Byzantine 
models. 

The  great  hall  was  a  marvel  to  the  eyes,  with  its  mixed  displays 
of  carpets  and  stuffs  in  powerful  tones;  its  walls  hung  with  brilliant 
arms,  multi-colored  embroideries,  costumes,  harness,  musical  instru¬ 
ments;  chests,  vases,  ewers;  a  great  multitude  of  useful  and  orna¬ 
mental  objects.  The  eye  rested  in  astonishment  on  all  these  multi¬ 
tudinous  objects,  thrown  together  in  hap-hazard  style,  like  the  booty 
in  the  cave  of  Ali-Baba,  and  expressive  of  a  new  civilization — a  strange 
exotic  art  and  industry  in  which  were  blended  Persian  traditions  and 
Chinese  inspirations.  But  perhaps  the  greatest  surprise  of  this  exhibi¬ 
tion  was  the  panorama  of  the  great  Siberian  railway,  upon  which  one 
mounted  in  corridor  railway  carriages.  Then  the  train  began  to  move 
at  a  good  pace,  and  the  traveller  saw  unrolling  before  him  the  pano¬ 
rama  of  a  delightful  country,  with  vast  plains,  large  rivers,  and  thick 
forests  of  fir-trees.  While  the  carriages,  though  stationary,  were  given 
a  certain  movement  to  heighten  the  illusion,  an  endless  canvas  painted 
from  Nature  by  eminent  artists  was  unrolled  before  the  spectator.  It 
was  an  old  trick,  but  presented  there  in  a  very  ingenious  manner. 


466 


THE  PARIS  EXPOSITION. 


PORTUGAL: — The  pavilion  occupied  by  Portugese  colonial  ex¬ 
hibits  had  within  a  vast  hall  with  a  spacious  portico,  having  on  its  right 
and  left  a  celestial  globe  encircled  by  the  signs  of  the  Zodiac.  The 
structure  was  surmounted  by  a  flat  dome.  The  exhibits  exemplified 
with  fidelity  the  policy  and  success  of  Portugese  colonization. 

DUTCH  EAST  INDIES: — Three  separate  pavilions  near  the 
Siberian  Palace  were  devoted  to  the  Dutch  East  Indian  exhibition.  In 
the  centre  stood  the  temple  of  Tjandi  Sari,  one  of  the  most  remarkable 
specimens  of  Hindoo  architecture  in  the  island  of  Java.  Access  to  it 
was  gained  through  two  other  temples  reproduced  from  the  ruins  of 
Prambanan  in  Java.  Inside  the  temple  were  grouped  the  most  precious 
specimens  of  Hindoo  architecture  and  sculpture.  The  two  pavilions 
on  either  side  of  the  temple  were  types  of  the  native  houses  of  Sumatra, 
their  gracefully  curved  roofs  resting  on  carved  wood  supports.  The 
north  pavilion  contained  plans  of  Dutch  colonial  fortifications,  com¬ 
ponents  of  camps,  military  hospitals,  naval  establishments,  collections 
of  charts  and  photographs.  The  south  pavilion  contained  the  ethno¬ 
graphical,  mineralogical,  and  agricultural  exhibits  of  the  various  Dutch 
possessions,  guarded  by  a  regular  Pantheon  of  Hindoo  deities  con¬ 
sisting  of  70  richly  carved  and  decorated  statues. 

DANISH  POSSESSIONS: — The  pavilion  devoted  to  Danish 
Colonial  exhibits  contained  a  Court  filled  with  Greenland  displays,  such 
as  skins  of  wild  animals,  bears,  reindeers,  seals,  etc.,  and  a  great  num¬ 
ber  and  variety  of  water  fowl.  Iceland,  too,  showed  its  attractions  of 
flora  and  fauna. 


PALACE  OF  RUSSIA. 


Army  and  Navy. 


IDWAY  between  the  Alma  Bridge  and  the  Iena  Bridge, 
and  upon  the  left,  or  southerly,  side  of  the  Seine,  stood 
the  capacious  pavilion  devoted  to  the  armies  and  navies 
of  the  world.  It  was  of  massive  proportions  and  stern 
architecture,  and  bore  striking  likeness  to  some  ancient 
fortified  castle.  Its  main  hall  was  approached  by  an  ar¬ 
tistic  staircase.  In  the  background  was  a  large  and 
showy  painting  representing  the  armies  of  France,  and  as  a  foreground 
to  the  painting  stood  two  immense  equestrian  statues  by  celebrated 
French  artists.  The  general  effect  was  quite  imposing. 


The  Pavilion  of  Army  and  Navy  was  devoted  to  Group  XVIII  of 
the  Exposition.  This  was  the  last  group  which  fell  under  M.  Picard’s 
system  of  classification.  It  contained  the  following  classes,  numbered 
from  where  the  classes  of  the  previous  group  ended : 


Class  1 1 6.  Ordnance  and  Artillery  Equipment. 

Class  1 1 7.  Military  Engineering  and  Accessory  Services. 

Class  1 1 8.  Naval  Construction. 

Class  1 19.  Map  Drawing — Hydrography — Various  Instruments. 

Class  120.  Administrative  Departments. 

Class  121.  Hygienic  and  Sanitary  Appliances. 

One  felt  assured  before  entering  the  group  that  there  the  nations 
wrould  be  found  in  their  greatest  pride  of  rivalry.  What  impelled  to  the 
assurance  was  the  fact  that  they  were  in  actual  rivalry  in  their  respective 
homes,  some  as  to  the  size  of  their  armies,  guns  and  equipments  and 
military  systems,  others  as  to  the  number,  size  and  efficiency  of  their 


469 


47° 


THE  PARIS  EXPOSITION. 


navies.  The  first  department  of  this  ponderous  yet  interesting  Group 
XVIII,  was  Class  n  6,  or  the  class  devoted  to  Ordnance  and  Artillery 
Equipments.  Here  were  found  on  a  stupendous  scale  the  plant  and 
processes  used  in  arsenals  and  in  the  manufacture  of  war  material. 
These  embraced  the  variety  of  modern  ordnance  and  projectiles  used  in 
both  land  and  sea  service.  Exhibits  of  this  formidable  kind  excited 
wonder,  but  left  the  impression  that  the  nations  were  not  yet  in  a  mood 
to  accept  the  peace  principles  which  the  Hague  Conference  sought  to 
inculcate. 

Supplementing  this  display  of  the  huger  “dogs  of  war”  came  those 
of  a  keener  and  subtler  character — the  death-dealing  weapon  borne  in 
the  hands  of  the  common  soldier  and  marine,  the  Mausers  and  needle- 
guns,  and  musketry  with  which  contending  armies  greet  one  another  at 
a  distance  of  a  mile  or  more.  Their  display  parodied  civilization  by  the 
claim  that  it  recognized  in  them  the  only  proper  instruments  which  made 
wholesale  killing  a  justifiable  enjoyment  for  nations  at  enmity.  Happily 
these  firearms  were  innocent  creations  as  they  stood  on  exhibition,  but 
they  seemed  to  grow  formidable  as  one  witnessed  close  by  them  the  sin¬ 
ister  display  of  ammunition.  Here  were  explosives  in  every  conceiva¬ 
ble  form  and  of  every  character  of  celerity,  force  and  deadliness,  and 
even  models  of  the  mills  that  made  the  deadly  powders  and  fitted  them 
for  uses  in  war. 

Handsomer  to  look  upon  than  the  firearms,  but  by  no  means  so 
deadly  except  in  very  close  quarters,  came  the  exhibits  of  swords  and 
side-arms,  and  following  them  the  artillery  equipments,  gun-carriages 
and  other  military  carriages.  The  last  exhibits  of  this  Class  embraced 
naval  artillery  equipments,  such  as  gun-carriages  and  other  naval  vehi¬ 
cles.  There  was  also  an  interesting  exhibition  of  motors  intended  to 
replace  animal  traction  in  the  army. 


ARMY  AND  NAVY. 


47 1 


The  next  Class  (117)  was  devoted  to  exhibits  of  Military  Engi¬ 
neering  and  Accessory  Services.  In  this  Class  appeared  the  material 
used  by  military  engineers  for  the  construction  of  railway  bridges,  for 
laying  out  and  constructing  railways  in  colonies,  barracks  at  home  and 
abroad,  electricity  and  its  application  to  military  engineering,  tele¬ 
graphs  and  telephones,  military  bridges,  and  even  military  ballooning. 
This  was  a  most  entertaining  class,  even  to  a  spectator  unlearned  in 
matters  connected  with  the  Army  and  Navy. 

Class  1 18  embraced  the  demonstrations  and  appurtenances  relat¬ 
ing  to  Naval  Construction;  Hydraulics;  Torpedoes.  Here  were  ships 
of  war,  hulls  and  their  fittings,  machinery  for  the  propelling  of  ships, 
the  many  complicated  auxiliary  machinery  now  needed  aboard  the 
modern  man-of-war.  Here  also  were  appliances  and  products  of  ar¬ 
senals,  appliances  of  electricity,  hydraulics,  torpedoes  for  attack  and 
defence,  naval  schools,  drawings,  photography,  and  the  means  of  saving 
life  at  sea. 

The  spaces  devoted  to  Class  119  were  ornamented  with  a  pro¬ 
fusion  of  military  and  maps,  and  hydrographic  maps  and  appliances. 
Here  also  were  vast  collections  of  instruments  pertaining  to  military 
and  naval  affairs. 

Class  120  was  devoted  to  the  Administration  Departments  of 
Armies  and  Navies.  In  them  one  found  the  modern  objects  and 
methods  connected  with  the  clothing,  equipment,  berthing,  camping 
and  hutting  of  soldiers,  sailors,  and  marines,  the  various  appliances  and 
tools  for  use  in  administrative  departments.  The  commissariat  depart¬ 
ment,  of  course,  treated  of  the  field  bakery,  preserved  foods,  and  ap¬ 
paratus  for  preserving  foods.  In  this  department,  too,  were  shown  the 
musical  instruments  used  by  soldiers  and  sailors,  and  appurtenances  for 
farriery,  making  harness,  and  even  for  sea  fishing.  There  was,  too, 


472 


THE  PARIS  EXPOSITION. 


an  exhibition  of  carrier  pigeons  used  for  military  purposes,  and  trials  of 
them  were  made  between  the  quay  Orsay  and  Vincennes  Wood.  A 
complete  military  encampment  with  tents,  utensils,  etc.,  and  dressed 
figures  reproducing  the  different  occupations  of  soldiers  and  sailors 
when  in  active  seryice. 

The  last  Class  of  this  Group — Class  12 1 — embraced  Hygienic  and 
Sanitary  Appliances.  These  were  found  partly  in  the  main  pavilion, 
but  a  large  number  were  exhibited  in  the  immense  structure  to  the 
rear,  in  connection  with  Class  74  of  Group  XII.,  and  Class  III.  of 
Group  XVI.,  the  former  Class  relating  to  Heating  and  Ventilating, 
and  the  latter  to  Hygiene.  It  will,  therefore,  be  proper  to  limit  the 
description  here  to  those  appliances  of  the  Class  (12 1)  which  were  found 
in  the  main  pavilion,  and  afterwards  to  describe  the  remainder  in  con¬ 
nection  with  the  exhibits  of  Classes  74  and  1 1 1  in  the  building  to  the 
rear,  all  the  exhibits  therein  being  allied;  that  is,  all  relating  more  or 
less  to  the  great  question  of  Hygiene  and  Sanitation.  Those,  then, 
found  in  the  main  pavilion,  and  which  were  suitable  for  Army  and 
Navy  purposes,  consisted  of  exemplifications  of  the  Army  Medical 
Service  in  time  of  peace  and  in  time  of  war,  and  the  many  appliances, 
and  the  best  methods  of  removing  the  wounded  away  from  the  field 
of  action  or  from  hospital.  The  societies  for  giving  aid  to  the  wounded 
were  dealt  with,  and  examples  of  the  filters  and  other  appliances  for 
purifying  water  were  shown. 

A  large  section  of  the  Army  and  Navy  Building  was  given  up  to 
materials  and  plant  used  in  the  mercantile  marine.  There  were  ex¬ 
hibits  of  the  raw  material,  and  materials  specially  used  in  building  and 
fitting  out  ships  and  boats.  Then  there  was  a  display  of  the  special 
tools  and  implements  required  in  shipbuilding  yards  and  in  marine 
engine  works.  Following  these  came  drawings  and  models  of  all  kinds 


ARMY  AND  NAVY. 


473 


of  sea  or  river  shipping  and  boats,  and  specimens  showing  the  fittings 
and  internal  arrangements  of  such  vessels  and  boats.  There  were 
launches  and  small  crafts  propelled  by  machinery,  sails,  or  oars,  draw¬ 
ings  and  models  or  tugs  and  towing  boats.  Then  there  were  drawings 
of  engines  and  machinery  used  on  vessels  and  boats,  not  only  drawings, 
but  specimens  and  models.  There  were  boilers,  water  heaters,  evapo¬ 
rators,  filters  for  feed  water,  engines,  condensers,  propellors,  auxiliary 
machinery  to  main  engines,  different  kinds  of  pumps,  governors,  speed 
and  direction  indicators,  and  engine  counters.  Then  came  arrange¬ 
ments  for  preventing  fire  in  store  rooms,  holds,  and  passages,  also  tank 
engines,  and  machinery  for  handling  goods.  After  these  came  the 
equipment  of  ships  of  the  commercial  navy — the  winches,  tackle,  chains, 
anchors,  hawsers,  cables,  steering  gear,  order  transmitters,  machinery 
for  working,  as  well  as  ships’  lights,  signals,  fresh  water  condensers, 
lighting,  heating,  airing,  ventilating  apparatus,  special  apparatus  for 
the  production  and  use  of  electricity,  freezing  apparatus,  sextants,  and 
other  instruments  for  determining  position  at  sea,  chronometers,  flags, 
ensigns,  special  furniture,  and  all  those  things  that  go  to  make  a  staunch 
sea-going  ship.  Next  pleasure  crafts  were  attended  to.  There  were 
yachts,  and  steam  or  sailing  boats,  rowing  boats,  outriggers,  skiffs,  and 
their  furniture.  Visitors  were  interested  to  find  that  a  special  section 
was  devoted  to  submarine  navigation.  There  were  lifeboats  and  appa¬ 
ratus  for  saving  life  at  sea,  and  succoring  ships  in  distress,  hawsers, 
lines,  pass  ropes,  cork  jackets,  floats,  life  belts,  and  such  appliances. 
There  were  devices  for  pouring  oil  on  the  sea,  plant  for  raising  wreck¬ 
age,  and  submarine  operations  in  recovering  sunken  property,  and  this 
exhibition  wound  up  with  statistical  information,  special  maps,  charts 
and  publications  relating  to  mercantile  or  pleasure  navigation. 


474 


THE  PARIS  EXPOSITION. 


Foreign  nations  were  very  fully  and  ably  represented  in  the  ex¬ 
hibits  found  in  the  Army  and  Navy  Building,  the  displays  made  by  the 
United  States,  Great  Britain,  Russia,  Germany  and  Italy  being  par¬ 
ticularly  fine.  A  chief  attraction  was  the  Military  Museum  or  Retro¬ 
spective  Exhibition  in  the  galleries  on  ihe  second  story.  This  was  a 
large  and  valuable  collection  of  pictures,  arms  and  armor,  uniforms, 
autographs,  and  personal  souvenirs,  borrowed  from  numerous  mu¬ 
seums  and  private  collections.  There  were  also  interesting  relics,  such 
as  a  sword  that  belonged  to  Marshal  Soult,  a  piece  of  the  blue  cloak 
worn  by  Bonaparte  at  Marengo,  some  of  his  letters,  the  saddle,  bridle, 
and  glasses  used  by  Napoleon  III.  at  Solferino,  etc.  Finally,  a  collec¬ 
tion  of  uniforms  worn  by  the  different  regiments  under  the  Revolution 
and  the  First  Empire. 

Leaving  this  immense  pavilion  of  the  Army  and  Navy,  and  cross¬ 
ing  a  little  street  to  the  rear,  one  came  to  another  very  large  structure, 
used  as  an  annex  to  the  main  building.  This  was  the  main  Hygienic 
and  Sanitation  section  of  the  Exposition,  and  contained  part  of  the 
exhibits  of  Class  12 1,  devoted  to  Hygienic  and  Sanitary  Appliances,  all 
of  those  of  Class  74,  Group  XII.,  devoted  to  Heating  and  Ventilation, 
and  all  of  those  of  Class  111,  Group  XVI.,  devoted  to  Hygiene  in 
general.  The  eastern  end  of  this  building  contained  the  strictly  hy¬ 
gienic  exhibits.  As  was  the  case  in  all  the  Exhibitions  that  went  to 
make  up  this  great  Exposition,  this  class  began  at  the  very  beginning 
with  an  historical  sketch,  and  an  able  statement  of  the  progress  of 
hygiene.  Quite  naturally,  M.  Pasteur’s  keen  researches  into  this  wide 
field  of  science  were  given  a  premier  position.  Here  were  to  be  seen 
applications  of  the  learned  doctor’s  discoveries  for  preventing  the 
spread  of  infectious  diseases.  Then  the  laboratories  were  treated  in  a 
thorough  manner,  and  chemistry  with  bacteriology  as  applied  to  hy- 


ARMY  AND  NAVY. 


475 


giene,  researches  on  contagion  and  infection,  and  the  disinfecting  pro¬ 
cesses  and  appliances  in  use,  and  the  methods  of  obtaining  and  convey¬ 
ing  drinking  water  with  a  view  to  preventing  contamination. 

The  next  special  section  was  that  of  personal  hygiene,  and  hygiene 
in  dwellings.  Here  were  shown  the  precautionary  measures  that  should 
be  taken  against  contagious  diseases,  and  the  means  discovered  for 
gaining  immunity  from  ravages,  such  as  vaccination  for  smallpox,  in¬ 
oculation  for  rabies,  and  all  that.  The  application  of  the  laws  of  hygiene 
to  the  selection  of  building  materials,  and  to  lighting,  ventilating,  air¬ 
ing  and  lighting  buildings  was  shown,  and  the  use  of  water  in  baths,  and 
similar  appliances  was  dwelt  upon,  this  special  section  ending  up  with 
the  proper  means  of  disposing  of  refuse.  The  hygiene  of  public  and 
large  buildings,  such  as  schools,  factories,  workhouses,  hospitals,  asy¬ 
lums,  almshouses,  lecture  halls,  and  theatres  was  also  treated  in  propor¬ 
tion  to  its  importance.  The  exhibition  now  assumed  a  wider  range. 
It  took  into  account  sanitary  arrangements,  proper  maintenance  of 
public  thoroughfares,  deposit,  removal,  transport,  and  utilization  of 
manures,  and  that  very  important  point,  the  protection  of  drinking 
water  from  contamination.  From  the  country  one  passed  to  the  towns. 
Here  could  be  seen  the  manner  in  which  public  thoroughfares  are 
treated,  the  cleanliness  of  public  roads  and  streets,  the  mode  of  surface 
draining  and  sweeping  them,  the  dimensions  of  buildings  (height,  num¬ 
ber  and  height  of  stories;  dimensions  and  ventilation  of  living  rooms; 
size  of  courtyards  and  yards).  Then  the  emptying  of  cesspools,  and  the 
untechnical  side  of  the  works  for  supplying  towns  with  water,  the  filter¬ 
ing  and  sterilizing  processes  through  which  the  water  and  other  sub¬ 
stances  pass;  the  proper  disposal  of  refuse,  the  various  systems  if  disin¬ 
fection  of  sewage,  the  scheme  for  sewage  farms,  and  lastly,  the  utiliza¬ 
tion  of  the  refuse  of  a  great  city.  Still  treating  of  the  health  of  towns. 


476 


THE  PARIS  EXPOSITION. 


it  was  there  shown  what  sanitary  authorities  are  necessary,  how  to  or¬ 
ganize  and  guard  against  infectious  and  contagious  diseases,  the  man¬ 
ner  in  which  infectious  patients  should  be  conveyed  and  isolated,  how 
infected  clothing  and  apartments  should  be  disinfected,  the  best  means 
of  regulating  public  and  private  slaughter  houses,  and  the  establish¬ 
ment  of  municipal  lavatories,  cemeteries,  and  crematoriums. 

Another  special  section  of  this  department  was  given  to  illustrat¬ 
ing  the  best  means  of  protecting  frontiers  against  infectious  diseases, 
the  medical  inspection  that  should  be  enforced  on  the  land  approaches, 
and  the  infirmaries  established,  and  the  disinfectants  used  at  frontier 
stations.  In  regard  to  sea  approaches,  the  sanitation  of  ports,  the  sani¬ 
tary  regulations  in  ports,  lazarettos,  quarentine  stations,  and  the  medi¬ 
cal  measures  to  be  taken,  and  the  disinfectants  to  be  used  on  board  the 
ships  were  all  scientifically  dealt  with.  Then  came  food  stuffs  and  other 
commodities,  and  herein  was  shown  the  manner  of  going  about  the 
inspection  of  these,  and  examination  for  adulteration,  as  well  as  the 
methods  for  preserving  foods.  The  inspection  of  natural  and  artificial 
mineral  waters,  too,  was  not  overlooked,  nor  was  the  progress  that  has 
lately  been  effected  in  the  world  from  the  hygienic  point  of  view. 

Again,  a  special  section  treated  of  medicinal  waters  and  sanator- 
iums,  the  analysis  of  medicinal  waters,  the  untechnical  side  of  the  meth¬ 
ods  of  obtaining  them,  and  of  working  the  mineral  springs;  the  various 
methods  of  cure  by  means  of  mineral  waters,  and  the  apparatus  em¬ 
ployed  with  this  object.  At  this  point,  swimming  baths  were  dealt 
with,  and  the  inhaling  and  massage  rooms  were  described.  In  regard 
to  sanatoriums  and  hot  water  springs,  the  general  arrangement  of  the 
premises  was  shown,  with  all  their  covered  walks,  their  dressing  rooms, 
baths,  and  shower  baths.  Then  followed  the  use  of  antiseptics,  particu¬ 
larly  in  places  frequented  by  consumptive  patients,  and  also  the  methods 


¥. 


PALACE  OF  CONGRESSES. 


retrospective  EXHIBITION  IN  HALE  OF  ceramics 


I 


ARMY  AND  NAVY. 


479 


of  bot-tling  and  preserving  mineral  waters.  Lastly,  in  this  building  were 
to  be  found  the  statistics  of  still-born  children.  Specimens  of  certifi¬ 
cates  of  cases  of  death,  the  mortality  due  to  epidemics,  and  an  analysis 
of  the  sanitary  legislation. 

The  opposite  end  of  this  large  annex  was  mainly  devoted  to  ex¬ 
hibits  of  Class  74 — Apparatus  and  Process  for  Heating  and  Ventilation. 
It  may  be  taken  that  it  would  be  quite  impossible  to  gather  together  a 
more  representative  collection  of  all  that  goes  toward  making  houses 
healthy  and  comfortable.  The  displays  began  with  the  manifold  meth¬ 
ods  of  heating  single  rooms  or  whole  buildings  by  steam,  or  by  hot 
water,  or  a  combination  of  these.  Here  were  shown  the  piping  and 
connections  used  in  the  various  methods  of  conveying  and  distributing 
steam,  hot  air  and  water  used,  as  has  been  said,  separately  or  in  combi¬ 
nation.  Then  followed  examples  of  natural  ventilation,  mechanical  ven¬ 
tilation,  and  the  combination  of  various  methods.  One  had  but  to 
look  about  him  to  find  appliances  and  models  of  warming  and  ventilat¬ 
ing  devices  of  every  description  and  kind  for  public  buildings,  fac¬ 
tories,  and  dwelling  houses.  Under  the  heading  of  apparatus  of  course 
came  the  stoves  and  furnaces,  all  with  the  special  features  that  suit  the 
various  varieties  of  systems  of  heating  used  in  all  lands.  Then  (one 
found  plans  and  models  of  warm  and  ventilated  edifices  of  every  de¬ 
scription  and  kind,  public  buildings,  factories,  and  dwelling  houses. 
Besides  these,  there  were  piping  of  every  kind  and  size,  standing  side 
by  side,  and  near  at  hand,  many  other  means  of  scientifically  distribut¬ 
ing  heat.  Here,  too,  were  steam  boilers,  and  tanks  for  heating  water, 
ranges  for  steam  and  hot  water,  many  kinds  of  piping  for  heating,  and 
vast  numbers  of  hot  air  stoves  and  ventilators.  There  were  many  kinds, 
the  up-draught  ventilators  being  in  the  majority.  All  the  means 
adopted  for  direct  renewal  of  fresh  air  in  heated  and  ventilated  build- 


480 


THE  PARIS  EXPOSITION. 


ings  were  to  be  seen  in  many  varieties,  and  there  one  could  compare 
each  with  all  the  others,  so  that  the  best  was  bound  to  be  sifted  out. 
Continuing,  one  came  to  the  appliances  for  domestic  heating,  and  the 
preparation  and  cooking  of  food.  Fixed  or  movable  stoves  or  chim¬ 
neys  were  shown.  Many  oil  and  gas  heating  apparatus  had  a  place. 
There  were  kitcheners,  and  ranges  in  large  varieties,  and  stoves  so  con¬ 
structed  as  to  be  of  use  simultaneously  for  warming  buildings  and  for 
cooking  food.  There  were  ranges  and  ovens  for  the  preparation  of 
special  and  particular  kinds  of  food,  and  fixed  or  movable  stoves  or 
appliances  for  the  preparation  of  food  and  beverages  on  a  large  scale. 
Connected  with  these  were  ventilators  worked  by  wind,  and  others, 
most  ingeniously,  by  the  difference  of  temperature.  Then  sanitation 
and  ventilation  of  kitchens  and  small  living  houses  were  gone  carefully 
into,  and  a  complete  illustration  of  the  various  devices  was  to  be  found. 

Another  special  section  was  filled  with  accessory  appliances  con¬ 
nected  with  heating  and  ventilation.  These  consisted  of  measuring 
and  registering  instruments,  thermometers  of  the  ordinary  kinds;  ex¬ 
traordinary  fanes,  which  could  be  read  at  a  distance;  pyrometers,  ane¬ 
mometers,  a  large  assortment  of  gauges  for  measuring  low  gas  pres¬ 
sures,  and  others  indicating  the  level  of  water  in  pipes;  appliances  for 
measuring  the  passage  of  steam  through  pipes,  and,  in  fact,  registering 
appliances  of  all  kinds.  Then  there  were  governors  and  appliances  for 
distributing,  regulators  of  temperature,  draft  and  pressure  regulators, 
automatic  drip  cocks  and  air  cocks,  cocks  and  taps  special  to  heating 
apparatus.  Chimneys  came  next.  Here  were  samples  of  draw  plates, 
illustrative  of  the  value  of  the  narrowing  of  flues,  and  openings  for  hot 
air  and  for  ventilation.  There  were  gratings  and  plates,  iron  casing  for 
heating  apparatus,  special  sheet  iron,  and  a  myriad  of  chimney  pots, 
and  quite  a  number  of  smoke  consumers.  Fireplaces  and  chimney  pot- 


ARMY  AND  NAVY.  481 

tery  were  taken  into  account.  One  could  see  a  splendid  assortment 
of  earthenware  stoves  and  fireplaces  and  mantels,  and  the  ornaments 
that  go  with  these.  Tiles,  beautiful  and  useful,  and  all  kinds  of  pot¬ 
tery  for  the  proper  decoration  and  protection  of  fireplaces  were  shown, 
and  fire  bricks,  and  refractory  materials  for  fireplaces,  hot  air  stoves, 
and  chimney  pieces,  all  occupying  a  proportionate  amount  of  space. 
As  accessories  of  what  went  before,  there  were  fine  examples  of  fenders, 
fire-irons,  dogs,  and  fireplace  utensils,  patent  fire  lighters,  and  cinder 
rockers  and  sieves,  and  a  variety  of  cleaning  implements  that  would 
have  delighted  the  heart  of  any  housekeeper. 


-—-J 


THE  UNITED  STATES  BUILDING. 


Pavilions  of  Foreign  Nations. 


the  left,  or  southerly,  side  of  the  Seine,  and  stretching  from 
the  Bridge  of  Invalids  to  the  Bridge  of  Alma,  was  that 
unique  part  of  the  Exposition  of  1900,  which  the  French 
designated  as  “Pavillions  des  Puissances  Etrangeres,”  that 
is,  Pavilions  of  Foreign  Nations.  It  was  known  in  com¬ 
mon  parlance  as  the  Street  of  Nations,  and  also  as  the 
Colony  of  Nations;  but  if  a  colony,  France  could  lay  no  claim  to  it  for 
other  purposes  than  those  of  her  grand  Exposition.  The  historic  quay 
of  Orsay  surrendered  sufficient  of  its  space  for  the  erection  of  these 
pavilions,  each  of  which  was  typical'of  the  country  to  which  it  belonged 
and  by  whose  enterprise  it  was  erected.  They  stood  in  two  rows,  be¬ 
tween  which  ran  the  unoccupied  part  of  the  quay  Orsay,  the  inside  row 
facing  the  river,  and  the  outside  row  the  quay.  Though  the  outside  row 
had  the  disadvantage  of  situation,  it  nevertheless  contained  some  pic¬ 
turesque  buildings  of  this  international  colony. 

All  the  great  nations,  Russia  strangely  enough  excepted,  were  rep¬ 
resented  by  their  pavilions,  and  many  of  the  minor  nations,  even  to  a  few 
which  were  not  independent.  Taking  first  the  row  of  pavilions  repre¬ 
senting  the  great  powers  and  fronting  on  the  Seine,  and  beginning  at 
the  southern  end  of  the  Bridge  of  Invalids,  the  first  of  them  was  that 
erected  by  Italy,  and  in  its  erection  Italy  certainly  rose  to  the  full  height 
of  the  occasion.  Her  pavilion  was  one  of  the  largest  of  the  row,  and  in 
this  respect  more  than  represented  the  place  of  the  country  in  the  class 
of  nations.  In  general  design  it  was  somewhat  fanciful,  but  its  beautiful 
architecture  spoke  clearly  of  the  sunshine  of  the  Mediterranean  penin- 

4?5 


25 


486 


THE  PARIS  EXPOSITION. 


sula.  Viewed  at  a  distance  it  was  an  imposing  object  and  a  striking 
feature  of  the  Exposition.  Its  interior  was  a  reposeful  home  for  those 
who  chose  to  rest  therein  and  enjoy  the  associations  of  their  native  land. 
And  so  the  exhibits  it  contained  were  of  a  character  to  make  an  Italian 
feel  welcome,  and  recall  something  of  the  life,  the  custom,  the  scenes 
and  the  products  of  the  place  of  birth. 

The  pavilion  next  to  it  was  that  of  Turkey.  It  was  a  square,  heavily 
proportioned  structure,  highly  suggestive  of  the  Turkish  style  of  archi¬ 
tecture.  Its  regular  occupants  were  those  of  Turkish  feature  and  dress 
who  went  about  their  business  with  the  silent  geniality  of  keepers  of  an 
Oriental  bazaar.  Its  main  external  features  were  the  lofty  and  beautiful 
Arabo-Gothic  gateway,  and  the  numerous  turrets.  The  windows  were 
of  exceptional  breadth,  and  its  interior  walls  were  richly  adorned  with 
ceramic  tiles  and  gilded  wood.  It  had  the  honor  of  being  the  first  purely 
Turkish  structure  ever  erected  in  Paris,  and  it  reflected  favorably  on  the 
zeal  and  liberality  of  the  Ottoman  government  that  it  should  be  so 
handsomely  and  favorably  represented.  It  contained  four  bazaars 
where  Oriental  curios,  tobaccos,  pipes  and  smokers’  appurtenances  could 
be  procured.  On  the  ground  floor  was  a  typical  Syrian  coffee  house  in 
which,  while  sipping  a  cup  of  aromatic  Turkish  coffee,  the  visitor  could 
listen  to  the  strains  of  an  Arabian  orchestra.  Here  also  a  troup  of 
Arabs  danced  that  wierd  and  characteristic  war  dance  which  so  delighted 
the  German  Emperor  when  he  visited  Damascus.  At  the  back  of  the 
pavilion,  and  plainly  visible  from  its  windows,  was  a  handsome  and  en¬ 
joyable  panorama  of  the  Bosphorus. 

Connected  with  the  pavilion  was  an  interesting  museum,  called 
the  Museum  of  the  Janissaries.  It  was  a  reproduction  of  the  Museum 
in  the  square  of  the  Hippodrome  at  Stambul,  and  was  intended  to  illus¬ 
trate  religious,  warrior,  and  civil  costume  in  Turkey,  from  a  very  early 
period,  until  an  unfortunate  decree  of  the  Sultan  Mahmoud  IV.,  in 


PAVILIONS  OF  FOREIGN  NATIONS. 


4»7 


1822,  suppressed  for  ever  the  delightful  national  costumes  which  added 
so  much  to  the  charm  and  interest  of  Constantinople.  The  Janissaries 
were  a  formidable  corps  of  soldiers,  who  formed  the  bodyguard  of  the 
Sultans,  and  who  acquired  such  prodigious  influence  in  the  State  that 
Sultan  Mahmoud  IV.  (the  actual  sovereign,  Abd-ul-Hamid’s,  grand¬ 
father)  ordered  them  to  be  massacred  in  1825.  Their  singular  costume 
surprised  many  who  were  probably  not  aware  that  it  was  worn  no 
farther  back  than  seventy-five  years  ago. 

On  the  second  floor  were  a  saloon  of  honor  and  reception  rooms 
containing  objects  of  value  collected  in  Asia  Minor  and  Anatolia — 
such  as  carpets,  embroideries,  mother-of-pearl,  copper  work,  .brass 
and  silver  work,  and  a  hundred  other  beautiful  things  which  go  by  the 
generic  name  of  Oriental,  and  which  recall  harems  and  other  Turkish 
delights.  The  ceiling  of  the  apartment  was  most  beautiful,  being  made 
of  wood  richly  inlaid  and  carved  and  painted  in  the  old-fashioned  Turk¬ 
ish  style.  In  a  neighboring  bazaar  Turkish  sweetmeats  could  be  tasted 
and  purchased. 

On  the  third  floor  were  embroideries,  copper  and  brass  work,  es¬ 
sences,  etc.  A  model  of  Jerusalem  and  Bethlehem  was  found  in  an 
adjacent  room,  also  views  of  the  Holy  Sepulchre,  the  grotto  of  the 
Nativity  and  the  Via  Dolorosa,  and  Mount  Calvary,  etc.  Above  this 
fwas  a  Turkish  Restaurant,  where  pilaf  could  be  tasted,  and  another 
Oriental  orchestra  heard  twanging  away  on  all  sorts  of  musical  in¬ 
struments,  many  of  them  of  the  shape  and  sound  which  delighted  King 
N  ebuchadnezzar. 

UNITED  STATES  PAVILION:— The  United  States  Pavilion 
faced  the  quay  Orsay,  and  was  the  third  building  below  the  Bridge 
of  the  Invalids,  the  Italian  and  Turkish  Pavilions  intervening.  This 
building  was,  properly  speaking,  not  a  pavilion  nor  a  palace,  but  a 


THE  PARIS  EXPOSITION'. 


monument  of  great  architectural  beauty,  and  the  highest  of  all  those 
on  the  quay  Orsay.  It  was  composed  of  a  massive  quadrangle,  in  the 
midst  of  which  rose  a  high  cupola,  resembling  in  esthetic  lines  the 
dome  of  the  Parthenon,  and  nearly  as  large. 

At  the  summit  of  the  cupola  the  American  Eagle  spread  his  im¬ 
mense  wings  and  held  in  his  claws  a  streamer  on  which  one  could  read 
1 — with  good  eyes — “United  States  of  America.”  In  the  front  of  the 
structure,  overlooking  the  Seine,  rose  a  portico  which  was  a  sort  of 
Triumphal  Arch,  with  Corinthian  columns,  and  surmounted  by  a  quad¬ 
riga  representing  the  Goddess  of  Liberty  in  the  car  of  Progress.  Back 
of  this  arch,  and  giving  access  to  the  interior,  a  door  opened  into  a 
vestibule  decorated  with  paintings. 

On  the  same  plane  as  the  columns,  and  under  the  porch  was  an 
equestrian  statue  of  George  Washington. 

In  the  centre  of  the  building,  an  immense  hall,  covered  by  the 
cupola,  was  decorated  with  historical  paintings.  This  hall  was  sur¬ 
rounded  by  balconies  on  each  floor,  and  flanked  by  smaller  rooms  de¬ 
signed  for  receptions.  On  the  first  floor  were  rooms  reserved  for  the 
different  States  in  the  Union.  Three  circular  staircases  and  two  ele¬ 
vators  ascended  to  the  three  upper  floors.  In  the  basement  was  a 
lunch  room. 

The  building  was  lit  up  at  night  by  electric  lights,  so  arranged 
as  to  show  in  silhouette  the  architectural  outlines.  All  the  work  to 
the  smallest  details  was  done  by  Americans  with  American  materials, 
but  the  architect  was  a  Frenchman,  M.  Morin-Goustiaux.  The  total 
height  taken  from  the  Quay  was  170  feet;  the  dome  was  66  feet  in 
diameter,  and  the  quadriga  surmounting  the  triumphal  arch  was  75 
feet  in  height.  The  whole  building,  except  the  foundation,  was  of 
wood,  covered  on  the  outside  with  staff.  The  interior  was  plastered 


PAVILIONS  OF  FOREIGN  NATIONS. 


and  decorated  with  wall  paintings.  The  dome,  with  the  exception  of 
the  decorative  paintings,  was  covered  with  metal. 

This  national  pavilion  was  designed  with  special  consideration  to 
the  comforts  and  welfare  of  American  visitors.  Its  very  atmosphere 
was  imbued  with  the  genial  hospitality  of  a  typical  American  home. 
Unlike  a  great  majority  of  its  contemporary  national  palaces,  it  con¬ 
tained  no  exhibits,  the  entire  space  of  its  interior  being  devoted  to  re¬ 
ception  rooms  and  resting  places  for  Americans  at  the  Exposition.  The 
general  impression  gained  from  a  view  of  the  interior  was  one  of  great 
beauty  and  of  elegant  simplicity.  On  entering,  to  the  left  of  the  gen¬ 
eral  rotunda  was  the  American  post  office,  where  mail  could  be  received 
in  private  boxes  if  desired  and  where  letters  written  in  the  general 
reading  and  writing  rooms  could  be  mailed.  On  the  second  floor  were 
rooms  devoted  to  the  various  State  commissioners.  The  third  floor 
was  occupied  by  the  reception  room  and  offices  of  the  Commissioner 
General;  also,  by  apartments  devoted  to  the  Assistant  Commissioner 
General,  the  secretary  and  national  commissioners.  In  the  general  re¬ 
ception  room  of  the  Commissioner  General  was  hung  a  magnificently 
executed  lifesize  portrait  of  President  McKinley,  by  George  D.  Peix- 
otto,  the  well-known  American  artist.  This  work  of  art  was  painted 
from  sittings  by  the  President  to  the  artist,  and  this  portrait,  after  the 
exposition,  will  be  hung  in  the  quarters  of  the  Union  League  Club  of 
Chicago,  whose  property  it  is.  The  quarters  reserved  for  the  enter¬ 
tainment  of  lady  visitors  were  situated  on  the  fourth  floor  of  the  build¬ 
ing  and  was  luxuriously  furnished  in  the  style  of  Louis  XVI.  Their 
location  on  the  highest  floor  was  determined  upon  because  of  the 
superior  coolness  of  this  portion  of  the  structure  during  the  warm 
summer  months.  The  other  rooms  on  this  floor  were  for  the  juries 
and  congresses  and  the  Loyal  Legion.  There  was  also  a  room  hung 


49° 


ME  MRiS  EXPOSITION. 


with  splendid  tapestries,  which  was  occupied  by  the  American  Cham¬ 
ber  of  Commerce  of  Paris.  In  the  spandrel’s  under  the  dome  were  sev¬ 
eral  great  American  coats-of-arms,  and  in  a  decorative  scheme  were 
tablets  bearing  the  names  of  all  the  Presidents  from  Washington  to 
McKinley.  Under  the  dome  was  a  finely-painted  American  flag  float¬ 
ing  to  the  breeze,  while  suspended  over  the  centre  of  the  rotunda  was 
a  magnificent  cluster  of  electric  lights  which  brilliantly  illuminated  the 
interior  of  the  pavilion  by  night.  At  intervals  about  the  balustrades  in¬ 
closing  the  several  galleries'  were  decorative  shields  of  the  United 
States,  while  all  around  gorgeous  streamers  of  red,  white  and  blue 
depended,  rendering  the  interior  a  splendid  conglomeration  of  cosmical 
color.  The  spacious  pylon  arched  over  the  international  explanade 
before  the  American  pavilion  was  one  of  the  most  popular  loitering 
places  in  all  this  palatial  section  of  the  Exposition.  Not  only  did  the 
towering  structure  insure  a  delightful  cool  retreat,  but  its  broad,  grace¬ 
ful  portals  commanded  a  singularly  beautiful  view  of  the  long  line  of 
sculptured  facades  stretching  away  on  either  hand,  of  the  majestic 
river  with  its  marvelous  bridges  in  the  foreground  and  the  magnificent 
palaces  of  marble,  bronze  and  glass  along  its  further  shore. 

AUSTRIAN  PAVILION: — Adjoining  the  United  States,  to 
the  west,  stood  the  Pavilion  of  Austria.  This  pavilion  had  a  fine  ap¬ 
pearance,  in  spite  of  the  simplicity  of  its  architecture,  a  little  in  the 
style  of  Louis  XIV.  It  was  a  sort  of  gay  hunting-lodge,  ornamented 
with  grotesque  heads,  festoons,  and  garlands,  giving  the  idea  of  an 
abode  of  folly  and  merry  picnics.  On  the  side  of  the  Seine  a  portico 
of  double  columns  with  heraldic  devices,  supported  an  elegant  balcony 
on  which  opened  out  a  large  bay  decorated  with  mouldings  enclosing 
running  patterns  of  foliage  and  astragals.  At  the  top  of  the  building 
was  an  attic  with  trophies  of  arms.  Two  little  ovoid  domes  at  the 


PAVILIONS  OF  FOREIGN  NATIONS. 


49* 

angles  looked  like  gilded  acorns;  in  front,  fountains  played  in  great 
basins  containing  groups  of  cupids  riding  dolphins.  At  the  side  of  the 
entrance  from  the  quay,  and  upon  the  ground  floor,  was  a  splendid 
reception  room,  decorated  by  a  Viennese  firm,  and  intended  to  receive 
members  of  the  Imperial  family.  There  was  also  a  room  containing 
Austrian  Press  exhibits,  with  a  reading  and  writing  room. 

On  the  second  story  was  a  large  gallery,  containing  part  of  the 
Exhibition  of  Austrian  Art.  Austrian  hydropathic  exhibits,  with  water- 
color  views  of  all  the  principal  watering-places  in  Austria.  Exhibition 
of  Dalmatian  landscapes;  ethnographic  museum;  Post  and  Telegraph 
Exhibition;  Commissory-general’s  offices;  Exhibits  from  Dalmatia; 
ethnological  museum;  national  costumes,  etc.,  a  collection  of  photo¬ 
graphs  of  the  most  beautiful  views  of  the  country;  also  curious  old 
tapestries,  etc. 

BOSNIAN  PAVILION: — Going  westward,  the  Pavilion  of  Bos¬ 
nia  came  next  to  that  of  Austria.  This  pavilion  was  all  blue  and  white, 
with  pretty  balconies  of  marvellous  workmanship  on  the  side  of  the 
Seine.  There  was  also  a  green  terrace,  overshadowed  by  a  high  tower, 
a  kouba,  or  old  Bosnian  donjon.  To  the  right  of  the  principal  entrance 
was  the  Douchen,  the  workshop  of  the  Bosnian  bazaar,  where  work¬ 
men  could  be  seen  busy  on  the  filigrees  and  slippers,  which  they  sold. 

On  entering,  one  saw,  on  the  ground  floor,  the  panoramas  of 
Serajevo,  the  capital  of  Bosnia,  and  on  each  side  the  two  most  beau¬ 
tiful  views  in  the  country,  the  Yaitze  Waterfall  and  the  Source  of  the 
Buna,  near  Monastir.  Real  water  flowed,  and  a  splendid  rainbow  ap¬ 
peared  over  the  waterfall,  an  illusion  produced  by  means  of  electric 
light.  The  walls  were  hung  with  Bosnian  pictures.  The  upper  story 
was  decorated  with  compositions  by  the  great  Slav  artist,  M.  Mucha. 
He  had  traced  the  whole  history  of  Bosnia,  the  Roman  epoch,  the  Slav 


m  THE  EA'RIS  EXPOSITION. 

invasion,  the  introduction  of  Christianity,  the  coronation  of  the  first 
King  of  Bosnia,  the  Turkish  period,  the  construction  of  the  Mosque 
of  Serajevo.  The  fine  composition  at  the  end  of  the  hall,  “The  Fruits 
of  Civilization  and  Art,”  was  also  the  work  of  Mucha,  who  certainly 
showed  himself  to  be  an  historical  painter  of  the  highest,  order. 

On  the  right  and  left  of  the  entrance,  hung  with  portieres  and 
native  stuffs,  were  respectively  a  musselman  harem  and  a  modern  Bos¬ 
nian  interior.  The  harem  was  a  reproduction  of  one  at  Serajevo,  and 
was  decorated'  with  woodwork,  having  an  oriental  ceiling  of  carved 
and  gilded  wood.  The  modern  section  on  the  left  was  furnished  by  a 
Parisian  firm.  In  the  centre  of  the  hall,  workpeople  of  both  sexes  in 
national  costume  were  weaving  carpets  and  embroidering.  In  the 
lateral  galleries  were:  on  the  right,  exhibits  from  the  National  Mu¬ 
seum  of  Serajevo,  ethnographic  and  archaeological  collections,  and  pre¬ 
historic  antiquities.  On  the  left  was  an  exhibit  of  carpets  and  embroid¬ 
eries.  On  the  second  story  was  a  platform  for  a  Bosnian  orchestra 
composed  of  twenty  musicians,  two  being  women  in  national  costume. 
Official  exhibits  from  the  Departments  of  Agriculture,  Public  Works 
and  Education  occupied  the  side  galleries.  The  great  development  and 
rapid  progress  of  the  Austrian  province  was  the  almost  personal  work 
of  one  of  the  Austria-Hungarian  ministers,  M.  de  Kolley.  The  cellars 
were  decorated  with  two  paintings  by  M.  Kauffmann,  representing 
woodmen  in  a  virgin  forest,  and  the  salt  mines  of  Dolnia  Fuzla.  There 
was  also  an  exhibit  of  mines  and  forests.  A  little  Bosnian  Restaurant 
was  established  out-of-doors,  on  the  bank  of  the  Seine. 

HUNGARIAN  PAVILION:— Next  to  Bosnia,  on  (the  west, 
stood  the  Pavilion  of  Hungary.  It  was  one  of  the  finest  in  the  Street 
of  Nations,  and  illustrated  Hungarian  architecture  from  Roman  times 
until  the  present.  Facing  the  bank  of  the  Seine  was  an  imposing  model 


PAVILIONS  OF  FOREIGN  NATIONS.  m 

of  the  old  belfry  of  Komorn,  entered  by  an  arched  passage,  above  which 
was  an  image  of  the  Virgin  under  a  canopy.  The  tower  passed,  the 
old  facade  of  the  Hall  of  the  Knights  of  Hunyad  came  into  view.  It 
was  pierced  by  small  windows  flanked  by  octagonal  or  round  turrets, 
surmounted  by  a  number  of  small  belfries,  with  grotesque  weather- 
vanes.  At  one  side  was  seen  the  apse  of  the  chapel  of  Coutorhohely. 
The  Roman  style  predominated  on  the  side  facing  the  quay  Orsay, 
where  was  the  principal  entrance.  This  fagade  consisted  of  the  mag¬ 
nificent  round-arched  doorway  from  the  church  at  Jak,  richly  decorated 
with  sculpture,  and  flanked  by  two  curious  rose  windows.  There  were 
also  many  niches  filled  with  saints,  and  a  gallery  with  mysterious  look¬ 
ing  mediaeval  arcades. 

In  the  cellar  was  a  room  for  tasting  the  famous  Hungarian  wines, 
Tokay  amongst  others;  also  a  large  restaurant  where  national  dishes 
could  be  obtained.  It  was  fitted  up  after  the  model  of  a  Czech  house. 
A  tzigane  (gipsy)  orchestra  was  attached  to  the  establishment. 

On  the  ground  floor  appeared  a  large  vestibule,  decorated  with 
frescoes  of  scenes  in  the  Middle  Ages.  Then,  several  steps  below  the 
vestibule,  one  entered  a  large  hall,  decorated  with  frescoes  of  great 
artistic  value.  It  contained  many  casts  of  tombs,  and  various  collec¬ 
tions  of  weapons,  etc.  A  second  hall,  handsomely  decorated,  also  con¬ 
tained  collections  of  weapons,  coats  of  arms,  church  plate,  linen  em¬ 
broideries,  manuscripts,  etc.  On  the  second  story  was  found  the  Salle 
des  Hussards  (Hall  of  Hussars),  which  was  the  official  reception  room. 
It  was  beautifully  frescoed  with  battle  scenes,  and  contained  two  ex¬ 
cellent  paintings  by  Paul  Vago.  Three  other  rooms  on  this  story  con¬ 
tained  valuable  historic  collections. 

PAVILION  OF  GREAT  BRITAIN:— This  Pavilion  stood  west 
of  that  of  Hungary,  and  between  it  and  that  of  Belgium.  It  was  on  the 


494 


THE  M'HtS  EXPOSItiON. 


plan  of  a  typical  English  country  house.  The  north  side,  facing  the 
Seine,  was  a  reproduction  of  Kingston  House,  at  Bradford-on-Avon, 
in  Wiltshire,  which  was  built  in  the  17th  century,  and  regarded  as  one 
of  the  purest  specimens  of  architecture  of  that  period.  On  the  south 
side  was  a  copy  of  another  house  of  the  same  period.  The  east  and  west 
sides,  as  well  as  the  internal  arrangements,  were  specially  designed  for 
the  Exposition.  The  structure  was  of  red  brick,  with  large  mullioned 
windows.  It  was  furnished  and  decorated  by  the  principal  London 
firms. 

The  entrance  to  the  ground  floor  was  on  the  south  side,  and  led 
into  a  large  hall  furnished  in  tapestries.  Room  2  of  this  floor  contained 
an  interesting  exhibition  from  the  Bath  Library.  Room  3  was  a  re¬ 
ception  room,  filled  with  furniture  and  works  of  art.  Room  4  was 
another  reception  room.  Room  5  was  a  large  dining  room.  Then 
came  a  series  of  offices.  A  curious  plan,  in  relief,  of  the  city  of  London 
and  suburbs  was  exhibited.  This  plan,  which  was  not  less  than  30  feet 
in  its  greatest  length,  represented  with  perfect  exactitude,  bridges, 
public  monuments,  squares,  depots,  palaces,  railroads,  etc.,  and  gave 
also  a  general  view  in  detail  of  the  Capital  of  the  United  Kingdom. 

A  fine  marble  staircase  led  from  the  main  corridor  to  the  second 
story.  Here  was  found  a  long  gallery,  copied  from  the  cartoon  gallery 
of  Knole  House,  Sevenoaks,  hung  with  pictures  of  the  English  school. 
The  best  works  of  Reynolds,  Gainsborough,  Hoppner,  Turner,  and 
others  were  loaned  by  the  National  and  other  collections.  Great  in¬ 
terest  was  taken  in  this  collection,  which  really  for  the  first  time  gave 
the  French  people  a  representative  display  of  the  best  English  art. 
Reynolds  was  well  represented  by  his  “Collina,”  “The  Masters  Gawler,” 
“Miss  Ridge,  “Lady  Caroline  Price,”  and  “The  Snake  in  the  Grass.” 
A  fine  show  of  Gainsborough  included  “The  Harvest  Wagon,”  “The 


PAVILIONS  OF  FOREIGN  NATIONS. 


49$ 


Shepherd  Boy,”  “Mrs.  Russell,”  and  others.  Romney  contributed  sev¬ 
eral  masterpieces;  there  were  two  Hoppners  loaned  by  Her  Majesty  the 
Queen,  several  Raeburns,  one  or  two  Morlands,  two  Constables,  in¬ 
cluding  “The  White  Horse;”  one  Lawrence,  “Miss  Croker;”  and  four 
fine  Turners.  The  other  rooms  comprised  two  magnificent  bedrooms, 
a  handsome  boudoir  and  a  bath-room.  In  the  cellars  was  a  very  com¬ 
plete  exhibition  of  British  fire  engines  and  appliances. 

BELGIAN  PAVILION: — The  Pavilion  of  Belgium  came  next 
to  that  of  Great  Britain.  It  was  constructed  in  the  Flemish  style,  and 
reproduced  the  best  portions  of  some  of  the  more  celebrated  town  halls 
and  municipal  buildings  of  Belgium.  The  central  tower  was  an  exact 
reproduction  of  that  of  the  H.  de  Ville  at  Audenarde,  whose  architect, 
Van  Pede,  has  been  called  the  Benvenuto  Cellini  of  stone,  for  by  no 
other  artist  has  the  hardest  of  materials  been  rendered  so  delicate  and 
lace-like. 

The  first  hall  one  entered  on  the  ground  floor  was  devoted  to  the 
Press  exhibits.  Here  was  seen  a  complete  collection  of  all  the  news¬ 
papers,  magazines,  and  other  periodicals  published  in  Belgium.  In 
the  next  department  were  arranged  views  and  models  of  all  the  prin¬ 
cipal  buildings,  ecclesiastical  and  civil,  of  Flanders,  as  well  as  a  splendid 
series  of  engravings  and  photographs.  In  the  basement  was  repro¬ 
duced  a  beer-vault,  where  the  visitor  could  refresh  himself  with  the  best 
Belgian  beers,  and  partake,  if  he  chose,  of  a  cold  luncheon  at  a  very 
moderate  price.  The  second  story  contained  an  immense  apartment 
in  which  was  an  exact  reproduction  of  the  great  chimney-piece  at  the 
H.  de  Ville  at  Audenarde.  The  walls  were  adorned  with  frescoes  and 
tapestries,  and  there  was  a  splendid  exhibit  of  ancient  Flemish  furni¬ 
ture.  Beyond  was  a  Reception  Room,  hung  with  extremely  fine 
tapestries. 


49$ 


mn  EXPOSITION, 


NORWEGIAN  PAVILION: — The  Pavilion  of  Norway  stood 
next,  on  the  west,  to  that  of  Belgium.  This  building,  with  its  gables 
and  picturesque  outline  and  graceful  proportions,  was  erected  in  the 
style  of  the  chalets  near  Christiania.  It  was  built  entirely  of  Norwegian 
wood,  and  was  painted  red,  with  an  ornamentation  of  fishes  carved  on 
a  green  background. 

On  the  ground  floor  was  a  large  room  given  up  to  the  museum 
of  Ichthyology.  It  contained  a  collection  of  all  the  articles  used 
by  the  fishermen  on  the  fjords  and  in  the  whale  fishery.  In  the 
centre  of  the  room  was  a  model  of  the  “Fram,”  the  ship  in  which 
Nansen  sailed  on  his  expedition  to  the  North  Pole.  There  were 
also  various  objects  belonging  to  the  Polar  expedition  of  1893.  At 
the  end  of  the  room  was  a  rockery  covered  with  several  hundred  sea 
birds,  and  on  the  walls  hung  pictures  illustrative  of  Norwegian  life. 
Facing  this  interesting  fishery  exhibit  was  one  of  forestry,  and  of  boats 
belonging  to  the  Life-boat  Society. 

The  second  story  was  reached  by  a  handsome  double  staircase  in 
pine.  At  the  top  of  the  staircase  was  a  gigantic  picture,  almost  a  pano¬ 
rama,  by  the  painter  Thorolf  Holmboe,  representing  a  most  beautiful 
Norwegian  landscape.  The  left  gallery  was  occupied  by  the  Norwegian 
museum,  which  contained  models  of  houses  of  different  periods.  In 
the  centre  of  the  gallery  were  curious  fishing  apparatus,  and  in  a  room 
at  the  end  various  instruments  and  articles  belonging  to  the  Nansen 
expedition.  In  the  far  gallery  was  a  curious  reproduction  of  the  Fish¬ 
ers’  Quay  at  Bergen,  celebrated  in  the  times  of  the  Hanseatic  League. 
At  the  end  of  the  right  gallery  was  an  oil  exhibit,  consisting  chiefly 
of  apparatus  for  extracting  cod  liver  oil.  In  the  centre  was  another 
fishery  exhibit,  and  at  one  end  a  collection  of  vehicles  peculiar  to  Nor¬ 
way,  cabrioles,  sledges,  etc.  The  gallery  parallel  to  the  Seine  was  de- 


PAVILIONS  OF  FOREIGN  NATIONS. 


497 


voted  to  sport:  toboggans,  skis  or  snow  shoes,  skates,  etc.  Norway  had 
likewise  various  important  exhibits  in  other  parts  of  the  Exhibition: 
Silver  and  copper  in  the  Champs  de  Mars,  lace  in  the  Palace  of  Tis¬ 
sues,  preserves  in  the  Palace  of  Alimentation,  filigree  work  and  various 
fabrics  and  carpets  of  novel  designs. 

GERMAN  PAVILION: — Next  to  Norway,  going  west,  stood 
the  Pavilion  of  Germany.  It  was  a  resume  and  synthesis  of  ancient  and 
modern  German  architecture.  It  reminded  one  not  a  little  of  the 
picturesque  decoration  of  the  Rhenish  towns,  and  of  the  houses  of 
Nuremberg,  and  at  the  same  time  showed  the  more  modern  style  of 
the  finest  buildings  in  Berlin  and  Munich.  The  fagades  were  all  differ , 
ent.  They  had  a  rich  and  solid  appearance  and  were  divided  by  gables 
of  various  shapes,  edged  with  stone  open  work.  The  west  fagade  was 
composed  of  two  parts;  a  high  tower,  and  at  the  side,  the  front  of  an  old 
German  house.  The  building  was  crowned  by  turrets  and  clock-towers. 

The  principal  entrance  was  from  the  street.  On  the  ground  floor 
was  first  found  a  large  hall  of  red  marble,  the  walls  and  ceiling  being 
decorated  with  symbolic  paintings.  These  represented  the  career  of 
man  from  youth  to  old  age.  The  young  man,  full  of  fire  and  ambition, 
was  seen  starting  on  his  mission,  then  the  old  man,  cast-down  and  in 
poverty,  exhausted  at  the  end  of  life.  Then  came  death,  and  the  re¬ 
compense  in  an  after  life.  The  windows  were  filled  with  fine  stained 
glass.  In  the  centre  of  the  hall  was  a  bust  of  the  German  Emperor.  On 
a  platform  facing  the  staircase  was  an  orchestra;  and  above  was  a  superb 
stained  glass  window  representing  “Germany  waving  the  Palms  of 
Peace.”  Several  rooms  on  the  ground  floor  were  given  up  to  superb 
exhibitions  of  German  books  and  photographs.  There  were  also  neat 
offices  and  reading  rooms. 


498 


THE  PARIS  EXPOSITION. 


The  second  story  was  reached  by  means  of  a  double  staircase  of 
white  marble.  The  balustrade  of  marble  and  wrought  iron  was  a 
marvellous  piece  of  workmanship.  First  and  second  rooms  at  the  end 
on  the  opposite  side  to  the  Seine  showed  printing  and  books.  A  third 
room,  at  the  end  and  to  the  right,  contained  the  exhibit  of  the  National 
Imperial  Printing  Works  at  Berlin.  Here  were  admirable  reproduc¬ 
tions  of  the  works  of  Holbein,  Durer  and  the  German  masters;  works 
in  rich  bindings;  the  Nibelungen  Epic,  magnificently  illustrated  by 
Sattler,  an  edition  of  only  fifty  copies.  A  fourth  room  on  the  left  con¬ 
tained  exhibits  of  German  Social  Economy,  illustrated  pamphlets, 
plans,  stained  glass  windows  from  the  Royal  Institute  of  Stained  Glass 
at  Berlin,  artistic  dioramas.  Three  large  figures — Religion,  Patriot¬ 
ism,  Justice — stood  out  from  a  rose-colored  back-ground,  and  attracted 
attention  by  the  grace  of  their  pose.  Rooms  six  to  nine  were  devoted 
to  Frederick  the  Great,  the  dilettante  sovereign  and  friend  of  Voltaire. 
These  four  large  rooms  were  in  the  purest  rococo  style  of  the  18th 
century,  with  ceilings  of  gilded  moulding  such  as  are  to  be  seen  in 
the  Palace  of  Potsdam.  The  first  of  these  was  an  exact  reproduction 
of  the  library  of  Frederick,  with  a  complete  edition  of  the  works  of  this 
philosopher  king  who  wrote  in  French.  He  lived  a  bachelor  life  at 
Potsdam,  finding  his  pleasure  in  reading,  music,  poetry,  and  the  society 
of  men  of  letters— Voltaire,  d’Argens,  Maupertius — whom  he  brought 
to  Potsdam.  The  other  rooms,  hung  with  damask  and  filled  with 
Boulle  furniture,  served  as  reception  rooms.  The  great  attraction  in 
these  rooms  was  a  collection  of  six  French  little  masterpieces  of  the 
1 8th  century,  belonging  to  the  Emperor  William  II.,  and  loaned  by  him 
to  the  Exhibition. 

In  the  cellars  on  the  side  of  the  quay  was  a  cafe-restaurant;  on  the 
right  was  an  exhibit  of  German  wines,  particularly  the  famous  brands 


PAVILIONS  OF  FOREIGN  NATIONS. 


499 


from  the  Rhine  and  the  Moselle.  The  rest  of  the  German  section  was 
exhibited  in  the  Palace  of  Diversified  Industries,  in  the  Esplanade  In¬ 
valids;  in  the  Palace  of  Machinery,  in  Camp  de  Mars;  in  the  Mercan¬ 
tile  Marine  Palace;  and  in  the  Bremen  Lighthouse. 

SPANISH  PAVILION: — This  stood  next  to  the  German  Pavil¬ 
ion,  and,  as  a  specimen  of  mediaeval  architecture,  was  one  of  the  finest 
Pavilions  in  the  Street  of  Nations.  It  was  square,  and  had  at  each 
angle  a  small  tower,  and  was  moreover  surrounded  by  an  internal  gal¬ 
lery  of  exceeding  beauty.  The  richness  of  the  decoration  set  off  to 
perfection  the  severity  of  the  general  architecture,  and  gave  one  a  de¬ 
lightful  idea  of  a  Castilian  fortress  palace  in  the  days  of  Spanish  gran¬ 
deur.  The  ground  floor  led  into  an  inner  courtyard  paved  with  granite, 
and  in  many  respects  resembling  that  of  the  royal  palace  at  Madrid. 
The  portico  was  surmounted  by  two  elegant  galleries  in  the  finest  style 
of  the  Renaissance.  Her  Majesty  the  Queen  Regent,  who  had  taken  a 
deep  interest  in  the  Exhibition  of  retrospective  art  here  displayed,  had 
sent  a  great  number  of  objects  and  had  moreover  selected  from  the  royal 
collections  of  tapestries,  considered  the  richest  in  the  world,  some  of  the 
finest  examples  of  Spanish  and  Flemish  tapestry.  Her  Majesty  had 
moreover  sent  a  selection  of  shrines,  candelabra  and  objects  of  devo¬ 
tion  from  the  treasury  of  the  Royal  Chapel,  and  a  selection  also  from  the 
famous  collection  of  armor  known  as  that  of  “Charles  V.”  The  Mar- 
queza  de  Viena  had  kindly  loaned  the  coat  of  armor  worn  by  the  un¬ 
fortunate  and  last  Moorish  King  Boabdilla  at  the  siege  of  Granada. 
On  the  second  story  were  found  a  stupendous  collection  of  Spanish 
bronzes,  Hispano-Moorish  pottery,  ancient  furniture,  etc.,  generously 
lent  by  the  Queen  of  Spain  and  by  the  Spanish  Government  from  the 
public  and  private  museums  of  Madrid  and  other  cities. 


500 


THE  PARIS  EXPOSITION. 


MONACO  PAVILION: — This  Pavilion  was  an  admirable  repro¬ 
duction  of  the  celebrated  Palace  of  the  Grimaldi  which  forms  one  of 
the  most  attractive  features  in  the  foreground  of  the  magnificent  pano¬ 
rama  of  which  the  Casino  at  Monte  Carlo  is  the  all  too  prominent  key¬ 
-note.  The  part  of  the  Palace  here  shown  was  built  in  the  early  15th 
century,  and  consisted  of  a  series  of  elegant  galleries  flanked  by  graceful 
turrets,  and  dominated  by  a  square  or  donjon  tower.  The  internal 
courtyard  was  a  blaze  of  tropical  flowers,  and  was  surrounded  by  an  ex¬ 
ceedingly  interesting  and  continuous  exhibit  of  models  of  the  prin¬ 
cipal  fish  found  in  the  Mediterranean;  of  the  fruits,  and  of  the  woods, 
polished  and  rough,  which  are  grown  in  such  abundance  in  the  smallest 
independent  principality  in  the  world..  In  the  interior  the  walls  were 
covered  with  scientific  maps  loaned  by  the  Prince  of  Monaco,  and  were 
graphic  results  of  the  very  serious  studies  he  has  made,  whilst  on  his 
numerous  voyages  in  his  yacht  the  “Princess  Alice,”  of  the  sea,  its  cur¬ 
rents  and  depths.  The  galleries  of  the  loggia  were  decorated  by  a 
series  of  frescoes  after  those  of  Carlone,  which  are  among  the  principal 
ornaments  of  the  Palace  of  Monaco.  The  arms  of  the  principality  were 
conspicuously  placed  over  the  principal  door.  The  frescoes  illustrated 
the  “History  of  Hercules,”  who  was  the  presiding  deity  of  this  part  of 
the  world  under  the  Romans. 

SWEDISH  PAVILION: — Next  to  Monaco  stood  the  Pavilion 
of  Sweden,  a  curious  wooden  structure,  much  carved  and  ornamented. 
The  roof  in  particular  had  a  most  bizarre  appearance,  being  a  medley 
of  domes,  towers,  and  belfries  of  fantastic  design.  On  entering  the 
ground  floor  by  the  door  near  the  Quay,  one  came  into  a  large  hall, 
with  a  dome  that  lighted  the  whole  edifice.  To  the  right  was  a  small 
room  decorated  with  fine  photographs  of  views  in  Sweden;  to  the  left, 
a  reading  and  correspondence  room.  In  the  large  room,  whose  walls 


INTERIOR  VIEW  OF  PAVIRION  OF  NORWAY. 


PAVILIONS  OF  FOREIGN  NATIONS.  503 

were  adorned  with  rich  lace  and  embroidery  and  home-knitted  tissues, 
could  be  seen  further  on,  to  the  right,  wood  carvings  from  the  province 
of  Bleckinge.  A  group  of  four  young  women  in  the  picturesque  na¬ 
tional  costume  were  engaged  in  making  lace  and  woollen  fabrics,  two 
of  the  most  flourishing  industries  in  Sweden.  On  one  side  there  were 
two  peasants  from  the  province  of  Darlicarlid,  on  the  other  a  young 
knitter  from  Malmo  and  a  lace-maker  from  Vadstena. 

At  the  end  of  the  hall  was  the  royal  or  reception  room,  decorated 
with  fine  specimens  of  furniture,  a  few  works  of  art  and  tapestries  from 
the  manufactory  of  the  celebrated  Society  of  the  Friends  of  Handicraft. 
On  each  side  of  the  room  were  two  large  dioramas  by  the  painter  Tiden. 
That  on  the  left  represented  “A  Winter  Night”  lit  by  the  stars,  and  a 
splendid  aurora  borealis.  In  the  foreground  a  small  Laplander  was 
seeing  to  a  reindeer  sledge.  The  second  diorama,  on  the  right,  repre¬ 
sented  a  summer  night — “Midsummer  Night  at  Stockholm.”  The 
capital  sleeps;  the  quays  are  deserted,  the  houses  are  lit  by  a  dim  un¬ 
certain  light — veiled  as  it  were — which  is  neither  day  nor  night,  neither 
dawn  nor  twilight.  Behind  the  dioramas  were  two  more  small  rooms, 
one  serving  as  an  office,  the  other  as  a  telephone  station. 

GREEK  PAVILION: — Next  to  Sweden,  on  the  west,  came  the 
Pavilion  of  Greece.  It  was  a  central  octagonal  pavilion  with  flat,  gauf¬ 
fered,  scalloped  dome,  from  which  stretched,  in  the  form  of  a  cross, 
walls  with  whose  red  tones  of  the  green  and  yellow  paint  created  an 
agreeable  contrast.  A  long  covered  portico  on  the  south,  whose  roof 
was  supported  by  slender  white  columns,  and  another  semicircular 
portico  facing  the  Seine,  gave  the  Pavilion  a  very  delightful  and  clas1- 
sical  appearance. 

The  whole  of  the  Greek  displays  at  the  Exposition  of  1900  were 
contained  in  one  large  room  on  the  ground  floor  of  this  Pavilion,  for 


24 


504 


THE  PARIS  EXPOSITION. 


Greece  contributed  nothing  of  moment  in  the  other  sections.  Facing 
the  entrance  was  an  exhibition  of  fine  arts — painting,  engraving,  sculp¬ 
ture,  etc.  On  the  right  was  an  exhibition  of  products  of  the  soil — 
currants,  wines,  spirits,  oils,  etc.  To  the  left  was  a  collection  of  stuffs, 
tissues,  silks,  cottons,  leather,  tobacco,  etc.  Near  the  entrance  was  a 
fine  showing  of  the  celebrated  Greek  marbles. 

SERVIAN  PAVILION: — The  Pavilion  of  Servia  stood  next  to 
that  of  Greece,  on  the  west,  and  was  the  last  one  in  the  Street  of  Na¬ 
tions  to  face  on  the  Seine.  It  was  a  simple  building  of  brick  and  grey 
stone  built  on  the  lines  of  a  Servian  church,  architecture  in  Servia  being 
as  yet  in  an  undeveloped  state.  Between  the  two  lateral  galleries,  which 
had  pointed  arches  enriched  with  arabesques  and  an  open  balcony,  was 
a  portico  with  double  columns,  the  tympanum  of  which  was  edged  with 
stone  tracery.  A  rounded  arch  bearing  the  Servian  arms  dominated 
the  whole.  A  dome  and  two  campaniles  rose  from  the  flat  roof. 

The  first  room  was  a  large  hall  with  three  cupolas.  The  decora¬ 
tion,  though  Byzantine  in  style,  was  very  simple,  the  tones  of  color 
being  faded  blue  and  pale  grey.  Three  bays  were  arranged  on  either 
side,  between  the  columns  supporting  the  central  cupola.  To  the  right 
on  entering  was  a  mineral  exhibit;  specimens  of  gold,  lead,  and  copper. 
Further  on  was  an  exhibit  from  the  Polytechnic  and  military  school 
of  Kragongevatch,  consisting  of  munitions  of  war.  In  a  second  room 
was  an  exhibit  of  public  instruction  of  all  grades  and  scholastic  ma¬ 
terial,  maps,  plans,  etc.  In  the  centre  of  the  hall  was  an  exhibit  of 
Servian  tobacco,  and  at  the  end  a  show  of  jewelry,  gold  and  silver 
filagree. 

On  the  left  were  three  sections,  the  first  containing  a  model  of 
the  interior  of  a  peasant’s  house.  There  are  no  factories  in  Servia,  all 
fabrics  being  made  by  the  peasants  in  their  own  homes.  They  begin 


PAVILIONS  OF  FOREIGN  NATIONS. 


505 


this  work  at  a  very  early  age.  A  girl  of  twelve  years  old  can  be  seen 
working  in  the  Exhibition.  The  second  contained  exhibits  of  tissues 
and  stuffs,  brocaded  in  gold,  and  enriched  by  intricate  arabesques  and 
designs,  all  the  products  of  domestic  industry.  The  third  exhibited 
soil  products,  such  as  wheat,  maize,  barley  and  fruits.  There  were  two 
annexes  to  the  Pavilion,  one  containing  exhibits  of  forestry  and  mining; 
the  other  an  Ethnographic  Museum,  illustrating  the  beautiful  and 
elaborate  national  costumes. 

This  finished  the  Pavilions  of  the  Street  of  Nations,  in  so  far  as 
they  faced  upon  the  Seine.  Behind  them  came  a  street  of  modest 
width,  upon  which  faced  a  second  row  of  Pavilions,  also  built  by  and 
representative  of  the  foreign  nations.  Though  deprived  of  a  view  of 
the  Seine,  and  therefore  regarded  as  less  enviably  situated,  they,  never¬ 
theless,  did  not  fall  behind  the  others  in  attractiveness.  Therefore, 
crossing  the  street,  and  beginning  a  journey  eastward,  back  toward  the 
Bridge  Invalids,  one  came  first  to  the 

ROUMANIAN  PAVILION: — This  building,  with  its  central 
pavilion  crowned  by  a  large  dome  of  green  tiles,  its  wings  flanked  by 
two  coquetish  pavilions,  with  richly  decorated  doorways,  was  a  con¬ 
centration  of  all  the  Roumanian  styles  of  architecture  in  the  16th  and 
17th  centuries,  and  a  reminiscence  of  that  Byzantine  architecture  which 
is  so  striking,  so  living,  and  has  such  a  purely  Oriental  wealth  of  orna¬ 
ment.  It  was  encrusted  with  colored  bricks  in  patterns,  circular  win¬ 
dows  with  gilded  arabesques  break  the  line  at  intervals,  and  it  was  fur¬ 
ther  inriched  by  colored  designs,  garlands  of  foliage,  and  coats  of  arms. 

The  left  side  of  the  ground  floor  was  mostly  devoted  to  a  rock-salt 
exhibit,  there  being  many  beds  of  this  in  Roumania.  Here  were  also 
fine  exhibits  of  woods — walnut,  chestnut,  ash,  beech,  elm,  pine  and 
larch;  also,  in  glass  cases,  of  grains — wheat,  maize,  barley,  etc.  There 


506 


THE  PARIS  EXPOSITION. 


were  also  exhibits  of  wines,  rose-essences,  and  carpets  rivalling  those 
of  Turkey  and  Persia.  The  main  decorations  of  the  Pavilion  consisted 
of  garlands  of  roses  interlaced  with  heads  of  wheat  and  barley.  Toward 
the  right  of  the  ground  floor  was  the  exhibit  of  Literature,  Science 
and  Art,  then  came  coach-making,  saddlery,  leather  and  skins;  on  the 
right,  machinery  and  metal-working;  enameling,  glass  and  pottery. 
Further  to  the  right  were  the  underground  treasures;  coal,  paraffin, 
the  famous  black  amber  of  Wallachia,  non-explosive  petroleum,  the 
only  sort  which  can  be  used  just  as  it  comes  out  of  the  earth,  without 
refining. 

The  second  story  was  reached  by  a  fine  staircase.  The  galleries  on 
the  left  were  devoted  to  house  decoration.  A  complete  set  of  furni¬ 
ture,  and  an  ornamental  doorway,  shown  by  the  Bucharest  School  of 
Arts,  was  worthy  of  notice.  Farther  on  was  an  exhibit  of  military  engi¬ 
neering,  a  collection  of  arms,  fireworks,  maps,  equipment,  etc.  On  the 
right  were  paper-making,  social  economy  and  hygiene,  also  samples 
of  all  the  Roumanian  mineral  waters.  The  Roumanian  Academy 
showed  a  series  of  no  volumes  of  its  publications.  On  the  same  side, 
but  at  the  end,  was  a  curious  collection  of  objects  connected  with  agri¬ 
culture,  fishing,  forestry,  etc.  The  most  interesting  portion  is  a  col¬ 
lection  of  ancient  “objets  d’art,”  containing  the  celebrated  treasure  of 
Petroasa,  superb  specimens  of  goldsmiths’  work,  enriched  with  jewels. 
It  is  believed  that  they  belonged  to  Alaric,  king  of  the  Visigoths  (5th 
century).  There  were  also  specimens  of  embroidery;  14th  and  16th 
century  vestments,  Gospels  and  Liturgies  in  Slav  and  Roumanian,  the 
first  printed  books  of  the  15th  century,  a  copy  of  the  Gospels  edited 
and  illumniated  by  the  Queen  of  Roumania  (known  in  literature  as 
“Carmen  Sylva”)  and  a  fine  collection  of  medals  and  coins. 


PAVILIONS  OF  FOREIGN  NATIONS. 


1*7 


BULGARIAN  PAVILION:— The  Pavilion  of  Bulgaria  stood 
eastward  of  Roumania.  It  was  very  simple  in  style  but  very  graceful, 
with  a  large  central  doorway  and  a  pylon  on  either  side.  These  rose 
into  the  air  like  minarets,  crowned  by  pepper-box  belfries.  Tall  white 
columns,  slender  and  twisted  volutes,  bunches  of  flowers  and  knots  of 
ribbon,  admirably  arranged,  produced  an  excellent  and  most  cheerful 
effect. 

The  entrance  to  the  ground  floor  was  half  Byzantine,  half  Turkish. 
To  the  right  and  left  were  the  productions  of  the  soil.  Huge  trees 
from  the  Balkans  and  the  Rhodopian  mountains  representing  all  kinds 
of  woods.  The  second  floor  contained  the  offices,  and  galleries  de¬ 
voted  to  objects  showing  the  progress  made  by  Bulgaria  in  various 
branches  of  trade.  Here  also  was  the  “Hall  of  the  Sovereign”  with 
four  portraits  of  the  ancient  Bulgarian  Kings,  or  Czars,  copied  from 

frescoes  in  the  orthodox  churches.  The  most  celebrated  was  the  Czar 

- 

Assen.  A  fine  tapestry  representing  Prince  Ferdinand  I.  was  sur¬ 
rounded  by  gems,  triptyches  and  goblets,  which  were  offered  to  him 
on  the  occasions  of  his  coronation,  his  marriage  and  the  birth  of  his 
children.  The  very  beautiful  Byzantine  enamels  Were  particularly 
noticeable,  in  which  were  united  the  purest  ancient  jewel-work  with 
the  grace  of  modern  craftsmanship. 

FINLAND  PAVILION: — Next  to  Bulgaria,  eastward,  stood  the 
Pavilion  of  Finland.  It  was  a  long,  low  building  of  only  one  story, 
with  massive  walls  at  the  corners  of  which  were  ornaments  like  fir¬ 
cones;  with  its  Gothic  doors  made  of  red  pine,  and  guarded  by  fom* 
brown  bears,  and  its  high  belfry  it  reminded  one  of  the  rustic  granite 
churches  which  one  finds  in  marshy  and  cold  countries  like  Finland, 
which,  at  one  time  inhabited  by  Laplanders,  is  now  a  part  of  the  Rus¬ 
sian  Empire.  Inside  the  belfry  was  decorated  with  frescoes  represent- 


S°8 


THE  PARIS  EXPOSITION. 


in g  scenes  of  the  “Kalevala,”  the  national  epic  poem  of  Finland.  Above 
the  entrance  were  decorative  panels  the  subjects  of  which  were  taken 
from  Finnish  mythology.  The  friezes  round  the  hall  consisted  of 
curious  bas-reliefs.  At  the  two  ends  of  the  hall  were  enormous  owls 
made  of  painted  wood.  In  the  centre  of  the  building  was  a  magnificent: 
black  granite  basin,  in  which  was  a  gigantic  aerolite,  that  fell  in  Finland 
in  1899. 

In  the  cases  on  the  right-hand  side  of  the  building,  and  in  the  gal¬ 
lery  at  the  end  of  the  hall,  were  exhibits  from  the  schools,  such  as 
specimens  of  manual  training,  of  the  applied  arts  and  of  elementary 
lessons.  In  the  cases  on  the  left  were  numbers  of  the  Finnish  specimens 
of  woods  and  minerals,  and  photographic  views  of  the  chief  sights  of 
the  country. 

The  left  side  of  the  building  was  devoted  to  Agriculture  and  Fish¬ 
ery.  Specimens  of  productions  of  the  soil — rye,  oats,  wheat  and  bar¬ 
ley — to  which  were  added  tables  of  statistics,  etc.,  various  kinds  of 
fish  from  the  coasts,  fishing  rods,  tackle,  etc.  Near  the  end  of  the  hall 
was  a  collection  of  furniture.  Finland  possesses  rich  marble  quarries, 
besides  iron  and  copper  mines.  Though  its  industries  are  not  fully 
developed,  its  intellectual  culture  is  very  far  advanced,  and  the  Uni¬ 
versity  of  Helsingfors  (the  capital  of  Finland)  is  deservedly  celebrated, 
while  the  public  schools  are  excellent. 

LUXEMBURG  PAVILION: — This  Pavilion  came  next  to  that 
of  Finland,  going  east.  It  was  a  reproduction  of  part  of  the  old  Town 
Hall  of  Luxemburg,  now  the  Grand  Ducal  Palace.  Its  style  was  Span¬ 
ish  Renaissance1 — a  long  building  with  rounded  windows,  and  a 
pavilion  at  each  end.  A  handsome  flight  of  steps  led  up  to  the  right- 
hand  pavilion,  while  the  left  one  was  flanked  by  a  graceful  tower, 
crowned  by  a  tiny  belfry.  There  were  two  stories,  connected  by  a  large 


PAVILIONS  OF  FOREIGN  NATIONS. 


509 

central  staircase.  The  ground  floor  was  occupied  by  a  restaurant.  On 
the  second  floor  the  principal  exhibits  were  photographs,  maps,  elec¬ 
trical  apparatus,  agricultural  implements,  farinaceous  products,  spirits, 
metals,  stained  glass,  gloves,  church  ornaments,  china,  and  mineral 
waters. 

PERSIAN  PAVILION: — The  Persian  Pavilion  stood  between 
those  belonging  to  Peru  and  Luxemburg,  and  opposite  the  Palace  of 
Great  Britain.  All  pale  blue  and  white,  enriched  by  mosaics  of  delicate 
hue,  it  seemed  to  reflect  a  brighter  sky  and  a  hotter  sun  than  ours.  The 
principal  entrance,  forming  a  wide  bay  with  surbased  vault,  afforded 
a  glimpse  of  rows  of  columns  beyond,  suggesting  a  mysterious  seraglio. 
The  lancet  windows  had  balconies  of  wood,  painted  a  light  color.  On 
the  roof  were  two  open  pavilions,  where  the  faithful  gathered  in  the 
evening  for  prayer.  The  Pavilion  had  three  stories,  and  was  sur¬ 
mounted  by  a  terrace. 

On  the  ground  floor  close  to  the  entrance  was  the  “Saloon  of 
Honor, ”  reserved  for  the  Shah  of  Persia,  who  visited  Paris  in  July.  It 
was  decorated  with  most  beautiful  furniture  from  the  Imperial  Palace, 
among  which  were  a  mignificent  divan,  and  a  Kiman  carpet,  no  speci¬ 
men  having  been  before  seen  in  Europe. 

On  the  left  was  a  Bazaar,  contained  in  three  rooms.  The  first  con¬ 
tained  a  collection  of  carpets,  tapestry  and  Persian  fabrics;  the  second 
exhibits  of  jewelry,  comprising  wonderful  turquoises  from  the  famous 
mines  of  Persia,  and  large  pearls,  gathered  in  the  Persian  Gulf;  the 
third,  exhibits  of  figs,  pomegranates,  almonds,  etc.,  and  a  fine  show 
of  ancient  pottery  and  china,  with  reflections  of  copper  and  steel,  which 
it  is  vainly  sought  to  imitate  now-a-days.  At  the  back  of  the  build¬ 
ing,  and  at  the  foot  of  the  staircase  leading  to  the  upper  story,  were 


THE  PARIS  EXPOSITION. 


two  rooms  devoted  to  food  stuffs;  the  famous  Chiray  wine,  opium,  gum, 
rosewater,  and  attar  of  rose. 

The  second  story  was  occupied  by  a  Persian  theatre,  where  a 
curious  representation  was  to  be  seen  daily.  The  third  story  was  an 
exact  reproduction  of  the  Palace  at  Ispahan.  On  either  side  was  a 
pavilion  supported  by  columns  formed  by  mirrors  cut  into'  facets, 
creating  a  rainbow-like  effect.  There  was  a  restaurant  on  the  terrace, 
where  the  visitor  could  try  the  complicated  dishes  of  Persian  cookery, 
and  taste  drinks  perfumed  like  the  rose. 

PERUVIAN  PAVILION: — This  building  was  in  the  Spanish 
Renaissance  style.  On  either  side  of  the  entrance  were  two  statues  by 
Peruvian  artists,  representing  Comedy  and  the  Fine  Arts.  This 
pavilion,  which  looked  as  if  it  were  made  of  sugar-candy,  was  in  reality 
constructed  of  iron,  and  at  the  close  of  the  Exhibition  was  sent  to  Lima, 
where  it  was  used  as  a  Museum. 

On  the  ground  floor  was  a  vast  hall  occupied  by  a  series  of  ex¬ 
hibits  illustrating  the  principal  products  of  the  country,  represented  in 
their  raw  and  manufactured  condition.  There  were  extremely  beau¬ 
tiful  examples  of  cotton  and  flax,  said  to  be  the  finest  in  the  world. 
The  gutta-percha  exhibits  were  very  important,  as  were  also  the  phar¬ 
maceutical,  among  which  one  saw  the  cocaine  bean,  the  essence  of 
which  has  been  of  such  valuable  service  to  modern  medical  science. 
The  Forestry  exhibits  of  this  court  were  of  surprising  variety  and 
beauty.  One  noted  the  enormous  specimens  of  mahogany  and  cedar 
wood,  as  well  as  of  some  absolutely  unknown  trees,  many  of  which 
have  not  as  yet  received  a  botanical  name. 

On  the  second  floor  in  a  series  of  apartments  were  collected  and 
arranged  an  incredible  number  of  photographic  views  illustrating  the 
industries  of  the  country  and  a  model  of  the  celebrated  Oroya  Railway, 


PAVILIONS  OF  FOREIGN  NATIONS. 


S« 

which  passes  through  the  great  mining  districts  to  the  height  of  20,000 
feet  above  the  level  of  the  sea;  as  also  the  very  noteworthy  mineralogi- 
cal  exhibit,  and  another  series  illustrating  the  cereal  industries  in  their 
raw  and  manufactured  condition.  At  the  extreme  end  of  the  pavilion 
was  a  sort  of  annex  or  kiosk  where  the  visitor  could  obtain  a  cup  of 
the  unrivalled  Peruvian  chocolate,  sip  a  little  Pisco  Cognac,  and  par¬ 
take  of  the  numerous  luscious  fruits  of  the  country,  several  of  which 
were  new  to  Europe  at  the  date  of  the  Exposition. 

PORTUGUESE  PAVILION: — Portugal  had  a  neat  Pavilion, 
surrounded  with  a  pavement  of  white  pebbles  brought  to  Paris  for  the 
purpose.  Its  interior  consisted  of  six  large  painted  panels  representing 
the  six  principal  fishing  ports.  In  the  central  showcase  were  specimens 
of  fish  preserved  in  various  ways.  There  was  an  interesting  collection 
of  models  of  fishing  boats.  In  another  room  was  a  forestry  exhibit. 
Stuffed  animals,  eagles  and  vultures  formed  an  interesting  part  of  the 
hunting  exhibit.  On  stages  were  samples  of  copper  and  lead.  fThe 
colonial  products  were  to  be  seen  at  the  Trocadero.  Wines  and  food¬ 
stuffs  were  shown  in  the  Palace  of  Foods. 

PAVILION  OF  DENMARK: — This  building  was  in  the  style 
of  a  country  house  of  the  17th  century,  a  time  of  renaissance  in  Danish 
architecture.  It  was  composed  of  two  principal  parts,  overlapping  one 
another.  The  Danebrog,  or  national  flag,  a  large  white  cross  on  a  red 
ground,  floated  over  the  door.  A  wooden  tower,  crowned  with  a  small 
bulb-like  dome,  stood  at  one  of  the  angles  of  the  building.  Inside, 
there  was  a  large  hall  with  two  lateral  galleries,  divided  into  several 
small  rooms,  fitted  up  in  modern  style,  where  Danes  found  all  the  news¬ 
papers  of  their  country. 

These  were  the  Pavilions  which  constituted  the  Street  of  Nations. 
Several  of  them  had  small  annexes  of  interest.  There  were  several 


5*2 


THE  PARIS  EXPOSITION. 


other  National  Pavilions  which  did  not  find  a  place  on  the  quay  Orsay, 
probably  for  want  of  space.  Among  these  one  of  the  most  interesting 
was  the 

MEXICAN  PAVILION: — This  Pavilion  found  a  site  also  on 
the  quay  Orsay,  but  further  west  than  the  other  Pavilions,  and  below 
the  Bridge  Alma,  by  the  side  of  the  Press  Pavilion,  and  facing  the 
Naval  and  Military  Palace.  It  was  built  in  the  purest  neo-Greek  style, 
sober  but  imposing,  like  the  modern  buildings  in  Mexico.  The  prin¬ 
cipal  faqade  on  the  side  of  the  Seine  was  painted  pink  and  white,  and 
had  a  loggia.  On  the  side  of  the  quay  was  a  portico,  with  a  flight  of 
steps  leading  up  to  it,  surmounted  by  the  Mexican  arms.  The  glass 
roof  was  skilfully  hidden  by  a  high  dentelated  frieze  going  all  round 
the  pavilion. 

Inside  was  a  great  hall,  with  light  and  striking  decorations,  sur¬ 
rounded  by  a  gallery  forming  an  upper  story.  The  hall  expanded  at 
each  end  into  a  large  rotunda,  the  one  on  the  left  forming  the  Recep¬ 
tion  Room,  fitted  up  in  Empire  style;  the  other,  on  the  right,  contained 
the  main  staircase  with  two  turns;  the  ceiling  was  formed  by  vaults 
painted  pink,  supported  by  white  columns.  The  central  portion  of  the 
hall  contained  the  exhibit  of  Mexican  manufactures.  At  the  entrance 
was  a  cigarette  manufacturing  establishment,  with  pretty  Mexican  girls 
making  cigars  and  cigarettes.  Going  to  the  right  one  found  the  cloth 
manufactory  of  San  Ildefonso,  the  paper  mills  of  San  Raphael,  etc. 
At  the  right  end  was  a  reception-room,  holding  the  fine  art  exhibition 
of  the  young  Mexican  school.  Here  were  exhibited  some  fine  sculp¬ 
tures  and  paintings,  by  Mexican  masters. 

The  left  side  of  the  hall  was  devoted  to  a  mining  exhibit,  the 
rich  products  of  a  country  favored  by  Nature,  samples  of  gold,  silver, 
copper,  lead,  mercury,  etc.  The  most  interesting  sections  were  those 


PAVILIONS  OF  FOREIGN  NATIONS. 


5*3 


of  the  famous  silver  mines  of  Boleo,  Pachuca  and  Real  del  Monte. 
By  the  side  of  the  mining  exhibit  was  an  exhibit  of  Mexican  cannon, 
maps,  photography  and  lithography.  On  the  second  story  were  scien¬ 
tific  instruments,  embroidery  and  ladies’  work;  also  a  very  important 
agricultural  exhibit — wheat,  rice,  maize,  coffee,  cocoa,  India-rubber, 
textiles,  plants  and  skins.  Then  came  the  Government  exhibit — Min¬ 
istry  of  Foreign  Affairs,  Finance,  Public  Works,  Post  Offices  and  Tel¬ 
egraphs.  Finally  came  an  exhibit  of  Mexican  books  and  publications. 
The  cellar  contained  a  restaurant  in  which  Mexican  dishes  were  served. 


Supplemental  Palaces  and  Side  Shows. 


N  the  Exposition  of  1900,  as,  indeed  with  all  international 
expositions,  the  wonders  that  refused  to  bend  to  regular 
classification  were  very  numerous.  The  site  being  Paris, 
many  of  them  were  very  beautiful,  and  all  animated  and 
captivating.  A  full  enumeration  and  description  of  them 
would  be  impossible  within  reasonable  limits,  but  some 


t 


were  so  noteworthy  as  to  deserve  more  than  passing  mention. 

One  of  the  quaintest  of  these  was  Le  Vieux  Paris,  old  Paris.  It  was 
of  exceptional  interest  from  an  historic  and  architectural  point  of  view, 
and  was,  moreover,  one  of  the  gayest  spots  of  the  Exposition.  Its  site 
was  upon  the  northern,  or  right,  side  of  the  Seine,  just  westward  of  the 
Bridge  Alma,  and  it  extended  between  the  river  and  quay  Debilly  for  a 
distance  of  300  metres  or  nearly  1000  feet.  It  was  a  reproduction  of 
the  Paris  of  the  middle  ages,  the  Renaissance,  and  of  the  subsequent  cen¬ 
turies  up  to  the  present.  The  structures  were  ingeniously  grouped  so  as 
to  produce  the  best  general  effect  and  preserve  the  historic  and  archi¬ 
tectural  verities,  and  it  must  be  said  they  reflected  the  past  with  fidelity 
in  their  curious  old  monuments,  picturesque  dwellings,  ancient  taverns 
and  shops,  and  even  in  their  temporary  occupants  dressed  in  the  cos¬ 
tumes  of  the  periods  they  represented.  At  the  further  end  was  a  thea¬ 
tre,  capable  of  seating  1700  people,  where  the  great  actors  of  Paris  ap¬ 
peared  in  their  turn,  and  where  a  grand  orchestra  of  150  musicians  played 
daily,  at  matinees  and  evening  performances,  the  selections  of  French 
and  foreign  music.  Popular  concerts  were  given  on  Sundays,  and  fre¬ 
quent  performances  according  to  an  antique  program  of  songs,  mono- 


515 


5*6 


THE  PARIS  EXPOSITION. 


logues  and  dances.  In  one  of  the  structures  representing  the  ancient 
church  of  St.  Julien  the  celebrated  singers  of  St.  Gervais  gave  daily  ren¬ 
ditions  of  choral  music.  Musical  concerts  of  a  high  order  were  also 
given  at  the  structures  representing  the  ancient  taverns.  Old  Paris 
abounded  in  restaurants,  and  a  daily  newspaper,  called  the  Gazette  of  Old 
Paris,  furnished  visitors  with  all  desirable  information,  including  the 
program  of  each  day’s  transactions.  Altogether,  Old  Paris  was  a  show 
well  worthy  of  a  visit,  and  one  quite  in  a  line  with  French  ideals  of  en¬ 
joyment  and  hospitality. 

THE  CELESTIAL  GLOBE. 

Perhaps  one  of  the  most  remarkable  of  the  side,  or  special,  shows 
of  the  Exposition  of  1900  was  the  “Celestial  Globe.”  This  was  a  spec¬ 
ially  constructed  building  of  immense  size,  standing  on  the  north,  or 
right,  bank  of  the  Seine,  and  visible  for  miles  around.  Upon  a  terrace¬ 
like  foundation  rising  to  great  height  was  mounted  a  sphere  145  feet  in 
diameter.  Its  exterior  was  decorated  with  astronomical  and  mytholog¬ 
ical  figures,  which  made  pleasing  daylight  decorations,  but  which  at 
night  were  illuminated  from  within  in  most  gorgeous  colors,  that  could 
be  seen  from  every  part  of  the  Exposition  grounds.  Inside  of  the 
globe  were  elevators  run  by  electricity  as  well  as  broad  easy  stairways, 
by  either  of  which  means  visitors  could  ascend  to  a  second  sphere,  some 
no  feet  in  diameter,  representing  the  centre  of  the  planetary  system. 
Here  there  was  room  for  more  than  a  hundred  visitors  at  a  time,  and  as 
they  traveled  from  east  to  west  they  beheld  the  sun,  moon,  stars  and 
even  wandering  comets,  and  in  the  centre  of  it  all  the  earth  revolving 
on  its  axis.  The  phenomena  of  the  eclipses  were  visible,  and  one  was 
told  that  all  these  intricate  and  wonderful  celestial  movements  were 
carried  on  with  scientific  precision. 


SUPPLEMENTAL  PALACES  AND  SIDE-SHOWS. 


5»7 


PALACE  OF  COSTUMES. 

To  the  left  of  the  Eiffel  Tower,  as  one  entered  the  Champ  de  Mars 
from  the  Jena  Bridge,  and  facing  University  Street,  stood  the  quaint 
structure  called  the  Palace  of  Costumes.  It  was  truly  a  splendid 
building  with  gorgeous  contents  designed  to  present  a  complete  his¬ 
tory  of  dress  at  every  stage  of  civilization,  from  the  days  of  ancient 
Egypt  to  the  present,  by  means  of  costumes  fresh  and  new  and  vigor¬ 
ously  correct  in  pattern.  In  addition  to  this,  the  costumes  were  worn 
by  life-sized  figures,  instinct  with  human  expression,  representing  per¬ 
sons  famous  or  infamous,  playing  a  part  in  typical  characteristic  scenes 
taken  from  the  history  of  the  period  and  country  they  illustrate,  and 
set  in  appropriate  “mise-en-scene”  generally  copied  from  old  prints 
or  drawings. 

Down  the  centre  of  the  building  ran  a  broad  hallway,  and  on 
either  side  were  a  multitude  of  salons,  each  devoted  to  a  special  epoch 
of  dress.  Many  of  these  salons  were  truly  wonderful.  One  set  aside 
for  the  period  of  Louis  XV.  attracted  particular  attention,  as  it  de¬ 
picted  customs  and  costumes  long  since  forgotten.  In  the  basement 
of  the  Palace  was  a  gorgeous  Byzantine  Court,  whose  furnishings  were 
from  Antioch.  There  was  a  christening  scene  shown  as  of  the  year 
1830,  being  an  exact  reproduction  of  the  Royal  Palace,  during  the 
Second  Empire,  and  of  the  personages  and  costumery  of  the  occasion. 
Then  there  was  shown  a  reception  scene  of  the  days  of  Napoleon  III. 
And  so  the  rich  and  various  scenes  ran.  The  Palace  was  not  only  a 
place  of  general  interest  but  a  superb  educational  school. 

TOUR  OF  THE  WORLD. 

To  the  left  of  the  entrance  to  the  Champ  de  Mars,  as  one  passed 
in  from  the  Jena  Bridge,  stood  a  structure  which  contained  the  curious 


THE  PARIS  EXPOSITION. 


51S 

exhibition  of  the  Tour  des  Monde  (Tour  of  the  World).  The  exterior 
of  the  building  recalled  the  principal  types  of  Chinese,  Japanese,  Cam¬ 
bodian  and  Hindoo  architecture.  The  door  of  the  principal  entrance 
was  originally  the  door  of  a  temple  in  Tokio.  It  was  of  wood,  relieved 
with  gilding  and  carved  with  quaint  dragons  and  fantastic  animals, 
whose  enamelled  eyes  were  set  in  gold.  The  doorway,  surmounted  by 
a  very  flat  roof  curved  upwards  at  the  ends,  formed  a  vast  portico  sup¬ 
ported  by  wooden  columns.  By  the  side  of  it  stood  the  Chinese  Tower, 
the  high  and  curious  tower  of  the  Garden  of  Niko,  the  roofs  of  which, 
blue  above  and  red  beneath,  were  piled  one  above  the  other.  Further 
on  were  friezes  and  panels  of  lacquer  with  Chinese  and  Japanese  draw¬ 
ings  and  inscriptions. 

Once  in  the  interior,  and  seated  upon  a  platform,  one  fronted  the 
immense  Panorama  which  constituted  the  attraction  of  the  building, 
and  was  ready  for  a  world  tour.  The  start  was  from  one*  of  the  finest 
spots  in  Japan,  under  a  dazzling  rose-colored  sky,  the  city  of  Yeddo, 
buried  amid  blossoming  apple  trees,  with  the  rosy  peaks  of  Fusiyama 
standing  out  from  its  midst  in  the  background.  To  the  right  appeared 
the  garden  of  Niko  with  the  tower  seen  at  the  entrance  of  the  building. 
To  the  left  appeared  the  corner  of  a  Chinese  city,  Shanghai  with  its 
gorgeous  gardens.  Then  passed  in  succession  the  cities,  land  and  sea 
scenes,  day  and  night  effects,  that  an  observant  traveler  would  see  as  he 
toured  the  Indian  Ocean,  the  Suez  Canal,  the  Mediterranean,  and  the 
various  waters  and  places  on  the  line  of  his  world  journey.  The  pic¬ 
tures  were  brilliant  and  faithful,  and  the  result  was  a  sensation  as  if 
one  had  been  a  witness  of  the  reality  here  so  ingeniously  and  pictur¬ 
esquely  portrayed.  The  Tour  of  the  World  was  one  of  favorite  attrac¬ 
tions  of  the  Exposition. 


.  / 


I 


THE  WATER  PALACE. 


SUPPLEMENTAL  PALACES  AND  SIDE-SHOWS. 


52* 


THE  SWISS  VILLAGE. 

In  the  angle  of  the  Champ  de  Mars,  where  the  Avenues  Lamotte- 
Piquet  and  Suffren  met,  and  connected  with  the  Palace  of  Agriculture 
by  a  covered  way,  stood  the  Swiss  Village.  Among  the  numberless 
attractions  offered  by  the  Exposition  it  was  one  of  the  most  extensive, 
picturesque  and  animated,  curious  and  interesting,  both  for  novelty  and 
the  immense  difficulties  overcome  in  its  construction.  Under  a  title 
all  too  modest  one  found  not  only  a  village  with  streets  burdened  with 
elegant  constructions,  the  models  of  which  had  been  brought  from 
diverse  cantons,  but  a  veritable  Switzerland  in  miniature,  a  living, 
breathing  synthesis  of  the  incomparable  little  country,  whose  beauties 
excite  the  wonder  and  admiration  of  thousands  and  thousands  of  tour¬ 
ists  attracted  annually  from  all  parts  of  the  world. 

The  village  had  its  chains  of  mountains,  varying  in  height  from 
50  to  150  feet,  though  appearing  higher,  its  cascade  115  feet  in  height, 
its  torrent,  lake,  pine  forests,  chalets,  pastures,  herds  and  herdsmen, 
in  fact  all  of  the  objects,  animate  and  inanimate,  that  compose  a 
medieval  Swiss  town.  In  its  Fribourg  dairy  one  could  watch  the  inter¬ 
esting  process  of  making  the  celebrated  Gruyere  cheese.  The  hospit¬ 
able  inn  of  Treib,  with  its  high  pitched  roof,  was  beautifully  mirrored 
in  the  waters  of  a  little  lake,  at  one  end  of  which  arose  Tell’s  Chapel, 
where  beer  and  wine  of  the  country  were  dispensed  by  Bernese  “Sin- 
nerinnen”  wearing  their  full  white  chemisettes  and  velvet  or  satin 
bodices  decked  with  silver  chains.  One  could  have  dined  at  the  historic 
hostlery  of  the  Bourg  St.  Pierre,  and  at  the  very  table  at  which  Napo¬ 
leon  dined  when  crossing  the  Great  St.  Bernard.  Side  by  side  with  the 
quaint  old  houses  of  Thun  and  many-towered  Schaffhausen,  one  came 
upon  the  smiling  gay  facade  of  the  Hotel  de  Ville  or  Town  Hall  of  Zug, 
and  national  sports  and  dances  took  place  upon  the  village  green. 

25 


5  22 


THE  PA'RIS  EXPOSITION. 


During  three  years  300  workmen  were  constantly  employed  in 
building  the  vast  skeleton,  so  to  speak,  of  this  chain  of  mountains  at  a 
cost  of  over  $250,000.  This  leviathan  scaffolding  was  covered  in; 
grass,  alpine  plants,  pines,  were  all  growing  in  vast  receptacles  filled 
with  their  native  soil;  the  rock  that  broke  through  bare  and  rugged, 
was  modelled  after  the  actual  Alpine  peaks. 

On  the  central  heights,  whence  the  cascade  took  its  headlong 
plunge,  stood  the  marvellous  “Panorama  of  the  Oberland,”  which  in 
itself  was  one  of  the  greatest  successes  of  the  Chicago  Exposition,  and 
there,  by  its  impressions  of  the  Switzerland  of  eternal  ice  and  snow 
gave  an  added  charm  and  completeness  to  the  picture  of  the  Switzer¬ 
land  of  pastoral  occupations  and  idyllic  pleasures. 

Thanks  to  the  $600,000  advanced  to  them,  MM.  Henneberg  and 
Allemand  were  enabled  to  carry  out  their  artistic  and  consummate  re¬ 
production  of  Nature  with  the  most  pronounced  success.  Each  chalet 
had  its  special  attraction.  Among  those  in  the  Berne  House  one 
noticed  a  telephone  for  speaking  and  writing,  invented  by  F.  Dussaud. 
Under  the  mountains  to  the  right  was  a  vast  hall,  which  served  as  a 
Restaurant.  It  was  a  kind  of  Swiss  “canteen,”  where  one  could  taste 
the  excellent  wines  of  Yvorke,  Neuchatel,  and  the  mulled  wines  of 
Valais. 

THE  PALACE  OF  LIGHT. 

In  the  eastern  environs  of  the  Champ  de  Mars  section  at  the  Paris 
Exposition,  midway  between  the  lofty  Eiffel  Tower  and  the  oriental 
structure  known  as  the  Tour  du  Monde  (Tour  of  the  World),  stood  one 
of  the  most  exquisite  architectural  creations  the  human  intellect  has 
ever  conceived.  It  rose  from  the  summit  of  a  glittering  promontory 
of  virgin  quartz,  beside  a  miniature  lake,  half  secluded  amidst  a  grove 
of  stately  poplars,  and  was  called  the  “Palais  Lumineaux,”  or  Palace  of 


SUPPLEMENTAL  PALACES  AND  SIDE-SHOWS.  523 

Light.  This  most  enchanting  of  structures  was  wrought  entirely  out 
of  glass  and  was  without  a  single  dim  or  shadowy  corner.  It  was  a 
vaporish  and  fairy-like  vision,  where  the  lacteal  whiteness  of  the  opal, 
the  ardent  flame  of  the  diamond,  the  rubescent  glow  of  the  ruby  and 
limpid  violet  of  the  amethyst  were  blended  into  one  ravishing,  ineffable 
symphony  of  palpitating  light  and  color.  It  was  a  palace  such  as  some 
Titania  or  Lurline  might  dream  of,  and  was  the  chef  d’oeuvre  of  the 
great  artist  in  crystal,  M.  Ponsin,  who  did  not  live  to  see  the  work  con¬ 
summated. 

The  Palace  of  Light  comprised  a  central  pavilion,  surmounted  by 
a  cupola,  above  which  a  glittering  figure  of  Electroyne,  daughter  of  the 
Sun,  was  poised  on  a  spherical  orb.  This  figure,  modeled  from  a  beau¬ 
tiful  Indian  girl,  was  the  work  of  the  gifted  young  Polish  artist,  Iza 
Albazzi,  Countess  of  Albazzi  Kwiathoska.  The  height  of  this  mar¬ 
velous  edifice  was  120  feet,  and  its  circumference  180  feet,  while  the 
promontory  on  which  it  reared  stood  40  feet  above  the  surface  of 
the  lake. 

In  addition  to  the  outer  walls,  all  its  decorations  and  furniture 
were  made  of  glass.  The  draperies  and  hangings  were  wonderful  crea¬ 
tions  in  spun  crystal,  embodying  exquisite  floral  designs,  and  finished 
with  fringes  of  cut-glass  pendants.  The  floor  coverings,  made  to  imi¬ 
tate  gorgeous  Smyrna  carpetings,  were  strewn  with  scintillating  stars 
of  golden  glass,  while  the  divans  about  the  walls  were  of  like  material, 
in  various  colorings.  At  intervals  about  the  interior  walls  tall  French- 
glass  mirrors  were  so  placed  as  to  transform  the  central  hall  into  a  vast 
intricate  realm  of  dazzling  brightness,  in  which  the  occupants  were 
multiplied  into  a  great  concourse  of  strangely  familiar  beings. 

Bewilderingly  beautiful  as  this  immense  jeweled  habitation  appeared 
by  day,  its  weird  magnificence  was  increased  yet  a  thousand-fold  by 


524 


THE  PARIS  EXPOSITION. 


night,  when  myriad  electric  lights,  distributed  throughout  its  walls  and 
hidden  in  the  midst  of  its  regal  furnishings,  converted  the  entire  struc¬ 
ture  into  a  blaze  of  dazzling  splendor.  Then  the  wide  glass  stairways 
ascending  on  either  side  were  like  unto  molten  pathways  leading  to  the 
sun.  These  wonderful  stairs,  flanked  by  balustrades  of  phosphorescent 
sea  shells,  gave  access  to  galleries,  the  walls  of  which  resembled  gro¬ 
tesque  aquariums,  peopled  by  marine  monsters  with  amber  scales  and 
emerald  eyes,  and  whose  yawning  maws  emitted  myriads  of  flashing 
rubies  and  sapphires.  Among  the  branches  of  the  trees  overhead  were 
birds  of  living  fire;  and  strange,  luminous  insects  darted  hither  and 
thither  through  the  golden  mist,  driven  upward  by  the  iridescent  vol¬ 
umes  of  water  that  descended  in  a  continuous  cascade  into  the  midst 
of  the  sylvan  lake,  from  their  source  among  the  glittering  foundation 
stones  of  the  enchanted  palace  above. 

The  motif  of  this  chimerical  creation  was  at  once  spectacular  and 
educational.  The  interior  of  the  main  pavilion  contained  one  of  the 
most  magnificent  collective  exhibits  of  jewels  and  precious  stones  ever 
revealed  to  mortal  vision,  while  in  a  wierd,  cavernous  grotto  under  the 
quartz  foundation,  a  marvelous  glass-blowing  plant  was  installed.  The 
appointments  of  this  subterranean  chamber  were  thoroughly  in  har¬ 
mony  with  the  fantastic  details  of  the  exterior.  Here,  surrounded  by 
glittering  stalagmites,  a  colony  of  glass  wizards  were  constantly  em¬ 
ployed  at  their  mysterious  craft,  fashioning  out  of  molten  crystals,  with 
a  deftness  that  was  superhuman  to  behold,  all  manner  of  quaint  orna¬ 
mental  conceits,  to  be  carried  away  as  souvenirs  by  the  wondering 
visitors. 

PALACE  OF  WATERS. 

The  Chateau  d’Eau  (Palace  of  Waters)  was  situated  in  the  axis  of 
the  Champ-de-Mars.  It  combined  with  the  palace  of  Electricity  to 


SUPPLEMENTAL  PALACES  AND  SIDE-SHOWS. 


525 


form  the  centre-piece  of  the  superb  decorations  which  surrounded  the 
gardens. 

In  the  middle  was  an  immense  grotto,  170  feet  high  and  36  feet 
deep,  and  from  the  interior  of  this  70  feet  below  the  summit  was  a 
basin  from  which  the  bubbling  water  poured.  On  each  side,  below 
and  in  front  of  this  basin,  water  flowed  in  cascades  from  three  niches 
into  eight  basins  placed  one  above  another.  This  immense  volume  of 
water  tumbled  in  cascades  from  basin  to  basin  and  emptied  finally  into 
a  vast  basin  in  the  midst  of  the  gardens.  At  the  centre  of  the  lower 
basin,  on  natural  rocks,  was  an  allegorical  group  representing  Human¬ 
ity,  conducted  by  Progress,  who  advances  toward  the  Future  while 
overthrowing  two  figures  of  Furies  who  personify  Routine. 

On  all  sides  were  scattered  groups  of  chimerical  animals  throwing 
jets  of  water  on  high  from  the  edges  of  the  basins.  The  groups  in  front 
of  the  pillars  and  rotundas  also  threw  water  into  smaller  basins.  This 
mass  of  water  was  illuminated  by  electricity  with  marvelous  effect,  the 
waters  rising,  descending  and  falling  back  in  rain,  possessing  each  a 
color  of  their  own  and  constantly  varied.  The  grotto  and  niches  were 
starred  with  many  colored  glasses,  and  all  the  reflections  a  thousand 
times  reproduced  by  the  moving  waters  made  an  inconceivably  mag¬ 
nificent  scene.  By  a  happy  innovation  which  permitted  curiosity  to  be 
satisfied  and  made  an  instructive  attraction,  the  apparatus  for  this  illu¬ 
mination,  under  the  basins,  was  open  to  the  public. 

The  Palace  of  Electricity  and  Chateau  d’Eau  as  an  architectural 
whole  constituted  by  day  or  night  a  picture  never  to  be  forgotten,  a 
phantasmagoria  and  a  dream  realized.  The  Chateau  d’Eau  was  not 
only  a  decorative  idea.  It  offered  to  the  public  porticos  and  promen¬ 
ades,  some  of  which  passed  under  the  cascades.  The  entrance  of  the 
grotto  was  marked  by  two  decorated  pillars,  flanked  by  two  rotundas. 


THE  PARIS  EXPOSITION. 


5*6 

From  these  rotundas  started  loggia  or  open  galleries,  of  Italian  style, 
giving  access  to  domes  of  the  Palace  of  Chemical  Industries  on  one 
side  and  of  the  Palace  of  Material  and  General  Appliances  of  Machinery 
on  the  other. 

PALACE  OF  THE  EMPIRE  OF  SIAM. 

The  legendary  country  of  the  white  elephant  had  constructed  on 
the  Champ-de-Mars,  east  of  the  Eiffel  Tower,  an  important  group  of 
edifices  which  reproduced  the  types  of  national  architecture  with  all 
their  capricious  richness.  As  for  all  the  buildings  of  Indo-China  it  is 
the  system  of  roofs  which  is  of  the  most  importance  in  the  total  effect. 
This  disposition  is  not  dictated  by  simple  fancy,  it  arises  from  condi¬ 
tions  established  by  the  temperature  and  meteorology  of  the  country. 
Exposed  to  terrible  tempests  and  to  the  excessive  heat  of  burning 
summers,  the  inhabitants  protect  themselves  against  the  violence  of 
unchained  winds  and  the  ardors  of  a  too  generous  Sun  by  thick,  heavy 
roofs.  These  extend  almost  to  the  ground  to  assure  stability  and  at 
the  same  time  extend  the  beneficent  shade. 

In  order  to  obey  sacred  rites  as  well  as  in  order  to  offer  a  free 
access  to  fresh  air,  the  dwellings,  hermetically  sealed  on  the  other  sides, 
open  largely  on  the  north  side.  The  question  of  rites  plays  a  grand 
role  in  the  questions  of  construction.  Sometimes  these  rites  have 
been  primitively  instituted  in  order  to  establish  useful  or  hygienic 
measures;  more  frequently  they  only  reproduce  confused  superstitions, 
which  have  preserved  a  considerable  influence  in  Siam.  Born  of  the 
meeting  of  two  currents  of  population,  coming  from  the  Orient  and 
the  Occident,  the  Siamese  have  preserved  intact  the  superstitions  of 
the  Hindus  and  of  the  Chinese  in  spite  of  the  prescriptions  of  Buddhism. 
The  rites  regulate  the  site  of  the  edifices,  then  of  the  different  modes 
of  construction.  The  Dragon  is  the  emblem  of  the  divine  wisdom; 


SUPPLEMENTAL  PALACES  AND  SIDE-SHOWS. 


527 


moreover  the  dragon  emissaries  of  the  divine  will  who  run  over  the 
earth  and  govern  in  his  name,  are  buried  in  the  earth.  The  mountains 
represent  their  spines,  the  diverging  hills  of  the  principal  chain  are 
their  innumerable  claws,  and  the  stones  scattered  on  the  ground  are 
their  scales.  To  build  in  the  proximity  of  the  dragon  is  commendable, 
but  it  is  not  good  to  place  oneself  within  reach  of  his  claws.  The  side 
where  his  breath  blows  is  a  good  presage,  and  the  site  of  the  eye  is 
a  sign  of  future  royalty.  The  ritual  prescribes  the  day  and  the  hour 
suitable  for  beginning  work,  and  also  fixes  the  age  of  the  builder. 

For  the  works  of  the  Champ-de-Mars,  these  customs  were  some¬ 
what  altered.  The  commissary  general,  represented  by  M.  Picard, 
played  the  role  of  grand  dragon  and  traced  the  limits  of  the  site  as 
well  as  the  number  of  workers.  Moreover  the  particular  necessities  of 
the  buildings  destined  to  enclose  the  exhibits,  compelled  modifications 
for  sufficient  light.  The  Siamese  Palace  was,  accordingly,  a  modifica¬ 
tion,  rather  than  a  faithful  restitution.  Forms  belonging  to  civil  and 
religious  architecture  were  mingled  with  great  profit  to  the  picturesque. 

The  characteristic  of  the  Siamese  art  seems  to  be  an  exuberant 
richness  in  the  multiplicity  of  sculpture  and  in  the  brilliancy  of  colors, 
which  accords  with  the  passion  the  Siamese  men  and  women,  rich 
and  poor,  have  for  show  of  gaudy  treasures.  The  little  covered  bridge, 
which  connected  the  two  pavilions  of  the  Palace,  was  a  souvenir  of 
Bangkok,  that  aquatic  city,  that  is  considered  the  Venice  of  the 
extreme  east. 

PAVILION  OF  THE  CITY  OF  PARIS. 

The  Pavilion  of  the  City  of  Paris  was  situated  on  the  right  bank  of 
the  Seine,  near  the  Bridge  of  Invalids,  in  front  of  the  Italian  Pavilion. 
It  was  in  the  central  point  of  attraction  only  a  short  distance  from  the 
Monumental  Entrance  to  the  Exposition. 


THE  PARIS  EXPOSITION. 


S2$ 

In  general  outline  it  resembled  the  Hotel  de  Ville.  Its  silhouette 
was  stamped  in  a  marvelous  scene.  The  picturesque  river,  the  fagades 
of  varied  style  of  the  foreign  pavilions,  and  the  rude  outlines  of  the 
Palace  of  Horticulture,  formed  the  frame.  The  pavilion  appeared  to  be 
constructed  on  an  immense  wharf,  the  supports  and  wooden  piles 
having  been  concealed  under  a  cover  of  cement  and  plaster.  The  frame¬ 
work  of  the  building  was  entirely  of  wood,  and  the  fronts  were  covered 
by  a  coat  of  plaster.  As  has  been  said,  the  general  appearance  re¬ 
sembled  the  Hotel  de  Ville,  except  that  the  domes  were  replaced  by 
gables.  In  spite  of  its  classic  style,  straight  lines  and  regular  form, 
the  pavilion  of  the  City  of  Paris  was  not  massive  or  clumsy.  The  deco¬ 
rations  were  very  simple. 

The  interior  was  arranged  in  an  original  manner,  the  idea  of  the 
architect,  M.  Gravigny.  It  was  a  sort  of  traditional  Exposition  Palace 
* — the  monotonous  galleries  were  replaced  by  a  vast  hall  occupying 
the  whole  Pavilion,  and  the  second  floor  consisted  of  a  gallery  six 
metres  wide  opening  on  the  nave.  In  the  middle  of  the  Hall,  in  a 
vast  basin  1,750  metres  square,  were  placed  marvelous  bouquets  of 
flowers,  skilfully  arranged  on  a  carpet  of  verdure.  While  giving  a  gay 
and  springlike  air  to  the  Pavilion,  they  composed  the  exhibition  of  the 
departments  in  charge  of  the  promenades  and  squares  of  the  City, 
and  showed  the  means  employed  for  the  decoration  of  the  gardens  of 
the  capital.  Some  marble  and  bronze  works  of  art  acquired  by  the 
City  in  the  preceding  ten  years — evidence  of  the  interest  she  takes  in 
flne  arts — enameled  this  grassy  carpet  with  black  and  white  spots  with 
happy  effect. 

The  spectator  was  more  vividly  impressed  by  this  truly  fairy-like 
tableau,  because  he  could  at  once  get  a  general  view  of  it  and  sieze  the 
smallest  details.  The  ground  had  been  dug  out,  making  a  basin  below 


SUPPLEMENTAL  PALACES  AND  SIDE-SHOWS. 


5*9 


the  level  of  the  floor  for  the  floral  display.  A  monumental  fountain 
rose  above  the  pit.  It  was  supplied  by  the  four  waters  of  Paris:  the 
Avre,  the  Ourcy,  the  Seine  and  the  Vanne,  each  of  which  had  its  own 
reservoir  and  outlet. 

Around  the  gardens,  many  of  the  City  Departments  were  repre¬ 
sented.  On  one  side  were  shown  the  methods  of  lighting,  the  water 
department,  drainage  system,  and  the  vast  and  complicated  question 
of  public  health  was  treated  very  completely.  On  the  other  side,  by 
many  drawings,  the  under-world  of  Paris  was  represented. 

A  little  farther  on,  a  cinematograph  permitted  the  public  to  visit 
the  hospitals,  work-houses  and  almshouses  under  the  control  of  the 
City.  Finally  the  history  of  the  Police  was  traced  in  minutest  detail, 
with  the  different  and  successive  costumes  of  the  policemen.  Above 
the  garden  rose  two  pairs  of  stairways  leading  to  the  upper  floor, 
forming  an  agreeable  break  to  the  regularity  of  the  immense  hall.  In 
the  upper  part  of  the  gallery  was  placed  the  Carnavalet  Museum  exhi¬ 
bition,  comprising  pictures  and  souvenirs  of  the  history  of  the  City. 
Beside  this  were  the  pictures  and  objects  of  art  belonging  to  the  city. 
A  little  farther  on  was  an  exhibition  of  Primary  Education.  As  in  all 
preceding  exhibitions,  a  few  interesting  documents  worthy  of  notice 
were  lost  in  a  mass  of  matter  which  the  public  passed  indifferently  by. 

The  modern  architecture  of  the  City  occupied  a  small  place,  repre¬ 
senting  the  new  Schools  of  Law  and  Medicine,  the  Sorbonne  and  other 
Municipal  buildings.  The  remainder  of  the  gallery  was  devoted  to 
exhibitions  of  municipal  libraries  and  historic  studies. 

The  office  of  Commissioner  of  Police  had  a  prominent  place  in 
an  historic  group;  and  the  history  of  this  institution  and  the  portraits 
of  the  various  functionaries  who  had  occupied  the  position  of  Com¬ 
missioner  filled  a  special  room.  The  Department  of  Public  Assistance 


THE  PARIS  EXPOSITION. 


53° 

arrested  attention  on  another  side  by  a  comparative  exhibition  of  this 
institution  in  former  times  and  what  it  had  become  in  1900.  “The 
City  of  Paris  is  a  world,”  said  King  Francis  I.;  this  world  has  grown 
remarkably  since  the  sixteenth  century,  as  one  could  prove  by  that 
pavilion,  so  ample  in  proportions  yet  too  small  for  that  which  it  should 
have  contained. 

PAVILIONS  OF  CHINA. 

Though  not  a  colonizing  nation,  the  pavilions  devoted  to  Chinese 
exhibits  stood  in  the  right  of  the  Trocadero,  close  by  the  Siberian 
Palace.  They  were  five  in  number,  the  most  striking  of  them  in  size 
and  architecture  being  a  reproduction  of  the  nine  gates  of  Pekin.  It 
was  four  stories  in  height  and  built  on  terraces.  On  the  left,  a  bridge 
connecting  the  Chinese  and  Russian  section  was  the  exact  reproduc¬ 
tion  of  a  famous  gate  on  the  route  to  Siberia,  in  an  annex  of  the  great 
Wall,  33  miles  north  of  Pekin.  It  bears  an  inscription  in  six  languages, 
one  having  never  been  deciphered.  A  Trans-Siberian  train  ran  over 
this  bridge,  and  on  alighting  the  traveller  found  a  Chinese  restaurant, 
where,  if  he  felt  so  inclined,  he  could  taste  swallow-nests  and  other 
marvels  of  Chinese  cookery.  On  the  second  story  was  a  central  terrace, 
surrounded  by  three  buildings  with  curved  roofs,  gaily  painted  in  yel¬ 
low,  red  and  green.  The  side  of  the  building  facing  the  Trocadero  had 
a  tree  growing  in  its  middle,  the  branches  piercing  through  the  second 
story  terrace. 

From  one  of  the  terraces  of  this  pavilion,  the  other  buildings  of 
the  section  could  be  admired.  To  the  left  was  a  grand  monumental 
gateway,  one  of  three  such  examples  in  China:  one  being  in  the  temple 
of  Confucius  in  Pekin,  another  in  a  temple,  and  the  third  in  a  hunting 
park  in  the  vicinity  of  the  Chinese  Capital.  The  base  was  of  white 


SUPPLEMENTAL  PALACES  AND  SIDE-SHOWS. 


53 1 


marble,  and  the  decoration  in  glazed  porcelain  of  two  colors,  yellow  and 
green.  The  reproduction  was  the  same  size  as  the  original. 

Another  pavilion  was  a  copy  of  one  of  the  six  pavilions  forming 
the  imperial  palace  at  Pekin.  A  varanda  formed  of  cylindrical  red 
pillars  joined  by  a  very  simple  green  balustrade  encircled  it.  The  walls 
of  the  pavilion  rose  above  the  veranda,  and  supported  a  second  roof, 
covered  with  green  tiles.  The  interior  was  richly  decorated.  The 
beams  of  the  ceiling  were  uncovered,  and  formed  squares,  a  painted  and 
gilded  rose  being  in  the  centre  of  each. 

Three  other  smaller  pavilions  of  Chinese  shops  completed  the  ex¬ 
hibition,  which  was  built  in  a  quaint  Chinese  garden,  having  in  its 
centre  a  miniature  lake. 

Chinese  agricultural  and  industrial  products  were  shown  in  the 
pavilions.  Among  these  rice,  the  staple  food  of  the  Chinese  (rice  fields 
occupying  one-eighth  of  the  whole  area  of  cultivation),  was  very 
prominent.  In  many  of  the  provinces  wheat,  honey  and  sorghum  are 
cultivated.  Also  the  cotton  plant,  potatoes,  etc.  Above  all  the  tea 
plant  which  is  an  incalculable  source  of  wealth,  and  the  poppy  from 
which  opium  is  made. 

One  could  not  help  being  interested  in  seeing  so  many  Chinese 
at  work  in  the  court,  all  dressed  in  native  costume.  Here  were  sellers 
of  curiosities  who  offered  with  an  engaging  air  statues  of  Buddha,  deli¬ 
cately  carved  jade  ornaments,  antique  vases,  whose  authenticity  was  in 
no  wise  guaranteed,  faience  and  pottery.  Then  there  was  an  enameller, 
ornamenting  silver  and  silver  gilt  articles  with  wonderful  dexterity: 
painters  on  rice-paper,  illustrating  albums  with  tiny  pencils,  or  deco¬ 
rating  large  panels  with  grotesque  figures  and  fantastic  dragons.  There 
were  silk  weavers,  under  whose  skilful  fingers  designs  of  incredible 


S3* 


THE  PARIS  EXPOSITION. 


variety  appeared,  and  straw  plaiters,  shoemakers,  workers  of  mother- 
of-pearl,  etc. 

PAVILIONS  OF  JAPAN. 

In  the  right  hand  gardens  of  the  Trocadero,  amid  the  palaces  and 
pavilions  representing  foreign  colonization,  was  the  space  allotted  for 
the  exhibits  of  Japan,  other  than  those  she  had  placed  in  the  regular 
palaces  of  the  Exposition.  The  entrance  to  this  Japanese  space  led 
into  a  large  garden  in  the  Japanese  style,  formed  on  the  model  of  one 
of  the  most  splendid  gardens  in  Tokio.  Its  tortuous  avenues  ending  in 
kiosks,  its  little  paths  edged  by  shrubberies  of  exotic  plants,  its  mul¬ 
berry  and  camphor  trees,  fan-palms,  mimosa,  radoi,  or  paper  tree,  and 
urusi  or  varnish  tree,  etc.,  were  planned  so  as  to  produce  a  most  curious 
effect.  In  the  centre  of  the  garden  was  a  piece  of  water,  in  which  were 
seen  strange-looking  fish,  among  river  plants  and  lotus  leaves,  over 
which  flamingoes  stood  sentinel.  The  climate  of  Paris  did  not  allow  the 
transplanting  of  the  wonderful  cherry  trees  which  are  the  admiration 
of  the  traveller  in  Japan.  But  the  gardeners,  who,  by  the  way,  came 
from  the  Imperial  Garden  in  Tokio,  had  managed  to  bring  over  gigantic 
flowered  chrysanthemums,  iris,  and  azaleas  which  conveyed  some  idea 
of  the  floral  richea  of  the  Land  of  the  Rising  Sun. 

Round  thk  garden  were  erected  the  various  pavilions  of  the 
Japanese  Court.  Ohl  Japan  was  represented  by  the  exact  reproduc¬ 
tion  of  a  pagoda,  the  temple  of  Koudo,  one  of  the  most  curious  speci¬ 
mens  of  Japanese  architecture,  situated  in  the  Buddhist  community  of 
Korioudgi  near  Nara,  the  capital  of  Japan  in  the  7th  century,  now 
fallen  to  the  rank  of  a  little  provincial  town.  The  temple  was  well 
worthy  of  notice.  Koudo,  which  means  “golden  temple,”  belongs  to 
the  sect  devoted  to  the  worship  of  ancestors.  It  is  of  great  antiquity, 
having  been  built  590  A.  D.  The  roof,  apparently  bronze,  was  really 


SUPPLEMENTAL  PALACES  AND  SIDE-SHOWS. 


533 


made  of  glazed  tiles.  It  was  firmly  supported  by  red  lacquered  col¬ 
umns.  Between  the  two  roots  was  a  large  circular  balcony,  also  painted 
red.  The  four  sides  of  the  temple  were  ornamented  with  carving  repre¬ 
senting  the  Japanese  Olympus;  there  were  goddesses  playing  on  various 
instruments  colored  by  the  artist  Isayama  who  lived  in  Paris.  Round 
the  windows  were  birds  of  paradise,  whose  long  tails  vanished  in  ara¬ 
besques.  A  broad  staircase  led  to  three  gilded  bronze  doors  sur¬ 
mounted  by  panels  decorated  with  lotus  flowers.  Lotus  leaves  served 
as  decoration  for  the  circular  balustrades  on  the  ground  floor. 

The  exhibition  of  Japanese  Art  was  in  this  building.  The  Commis¬ 
sary-General  had  succeeded  in  obtaining  a  collection  of  works  alto¬ 
gether  unknown  in  Europe,  mostly  coming  from  the  private  collections 
of  the  Mikado  and  the  great  Japanese  nobility.  Even  in  Japan  such 
a  collection  is  not  to  be  seen.  On  the  right,  near  this  temple,  which 
was  the  official  pavilion,  was  a  tea-house  facing  the  pavilion  of  Sake 
or  rice  wine,  both  quite  modern  constructions.  The  tea-house  be¬ 
longed  to  a  company  of  exhibitors,  especially  to  the  Guild  of  Tea  Mer¬ 
chants.  It  consisted  of  two  stories;  on  the  ground  floor,  the  visitor 
could  taste  Japanese  tea,  which  is  cultivated  with  great  care.  The 
precious  plant  is  protected  from  sun  and  frost  by  straw  coverings, 
and  the  leaves  are  gathered  in  the  spring  by  children  wearing  gloved 
hands. 

At  the  side  of  the  tea-house  was  a  little  gallery  in  tiers,  orna¬ 
mented  with  plants  and  shrubs,  and  built  in  European  style.  It  was  an 
excellent  place  from  which  to  admire,  in  the  evening,  the  fairy-like 
illumination  of  many  colored  paper  lanterns.  Parallel  to  the  R.  de 
Magdebourg,  at  the  corner  of  the  Q.  de  Billy,  was  a  Japanese  br'-ar, 
where  the  visitor  could  see  all  sorts  of  bibelots,  besides  the  va:  ious 
products  of  Japanese  industry — all  sorts  of  faience,  delicate  porcelain, 


534 


THE  PA'RIS  EXPOSITION. 


Satsuma  ware  so  minutely  decorated  by  patient  artists,  lacquer  both 
black  and  gilded,  curiously  carved  ivories,  boxes,  fans,  blinds,  beautiful 
silks,  embroideries,  satins,  brocades,  gauzes,  etc. 

PALACE  OF  EGYPT. 

In  the  rear  of  the  Japan  exhibition,  on  the  right  of  the  Trocadero 
grounds,  stood  the  vast  and  imposing  edifice  which  represented  Egypt 
in  the  Exposition  of  1900.  Its  fagades  were  copied  from  the  most 
famous  buildings  of  ancient  Egypt  with  their  huge  porticos,  their 
strange  bas-reliefs  and  hieroglyphics  depicting  the  history  of  the  ancient 
dynasties  of  Egypt,  their  friezes  crowded  with  polychrome  designs. 
There  were  three  distinct  divisions:  on  the  right,  the  “Temple;”  in  the 
centre,  the  “Onakala,”  or  Arabian  bazaar;  to  the  left,  the  “Theatre.” 

The  front  fagade  of  the  Temple  was  a  reproduction  of  that  of  the 
Temple  of  Dandour  in  Nubia.  The  sides  were  copied  from  buildings 
at  Philae,  Abydos  and  Karnak.  The  entrance  hall,  which  formed  a 
vestibule,  led  to  a  large  square  covered  gallery  in  the  form  of  a  colon¬ 
nade,  with  the  atrium  in  the  centre  open  to  the  sky.  In  this  colonnade 
there  was  an  exhibition  of  agricultural  products  and  manufactured 
goods,  works  of  art,  jewelry,  antique  and  modern  carpets,  etc.  Under 
the  Temple  was  an  extensive  crypt  divided  off  into  separate  vaults, 
representing  the  “hypogeum,”  or  burial  chamber  of  the  various  royal 
dynasties,  both  of  the  old  and  new  regime. 

The  Onakala,  or  Bazaar,  represented  Egypt  of  the  present  day 
disposed  around  an  immense  “patio,”  or  entrance  hall — rows  of  Arab 
houses  with  their  “moucharabis”  and  their  friezes  in  mosiac  or  ceramic 
ware;  their  projecting  balconies,  their  moulded  buttresses,  their  fres¬ 
coed  archways  and  their  terraces,  and,  on  the  ground  floor,  the  shops 
for  the  sale  of  Arabian  articles.  At  the  end  of  the  “patio” — the  side 


SUPPLEMENTAL  PALACES  AND  SIDE-SHOWS. 


535 


towards  the  Jena  Avenue — was  a  reproduction  of  the  Salon  of  the 
French  Minister  at  Cairo,  with  its  rich  mosaics,  its  curious  beamed 
ceiling,  and  its  beehive  cupola. 

In  the  third  division,  or  Theatre,  the  exterior  and  the  entrance 
were  antique  in  style,  like  the  Temple.  The  interior  was  richly  deco¬ 
rated  with  immense  frescoes,  depicting  in  polychrome  the  life  of  ancient 
Egypt,  the  triumphal  progress  of  the  kings,  public  festivals  on  the  Nile, 
ceremonies  in  the  temples,  etc.  The  arrangement  of  the  auditorium 
and  the  furnishing  was  entirely  in  conformity  with  the  Egyptian  style. 
On  the  stage  there  were  Arabs  and  Soudanese  enacting  their  “fan¬ 
tasias”  and  characteristic  dances.  The  sacred  dances  of  ancient  Egypt 
were  also  performed;  in  fact  here  were  gathered  together  all  varied 
attractions  and  delights  of  the  mysterious  East. 

THE  CINEORAMA. 

As  one  entered  the  Camp  de  Mars  from  the  Jena  Bridge,  there 
was  found  to  the  right  of  the  Eiffel  Tower  one  of  the  most  interesting 
spectacles  of  the  Exposition  of  1900,  the  immense  moving  panorama, 
which  was  called  the  Cineorama,  in  which  could  be  realized  all  the 
delights  of  a  balloon  journey  through  Europe  and  Africa.  This  journey 
one  could  there  take  without  danger,  fatigue,  or  much  expense,  .ex¬ 
periencing  all  the  impressions  and  surprises  of  such  a  voyage  through 
the  unknown,  and  feeling  the  astonishing  sensation  of  vast  surrounding 
space  above  the  living  panorama  of  the  great  city  beneath  him.  In  a 
few  minutes  one  could  pass  from  the  grandiose  spectacle  of  the  wide 
ocean  in  a  storm,  to  the  vast  horizons  of  the  desert,  streaked  with 
caravans,  or  vibrating  to  the  furious  gallop  of  an  Arab  cavalcade;  from 
the  carnival  at  Nice,  to  the  furious  “melee”  of  military  maneuvres, 
with  cavalry  charges,  cannon  in  action,  fusillades  and  assaults;  from 


536 


THE  PARIS  EXPOSITION. 


popular  markets  amidst  the  Gothic  architecture  of  old  Flemish  towns, 
to  the  excitement  and  glitter  of  a  Spanish  bull-fight,  with  its  episodes 
of  slaughter  and  its  maddened  crowds.  By  the  magic  of  an  aerial  pas¬ 
sage  which  annihilates  distance,  one  could  glean  a  series  of  lively  im¬ 
pressions  such  as  are  only  obtained  by  an  ordinary  traveller  crossing 
die  old  continents  for  several  months,  regardless  of  time  or  money. 

Such  was  the  result  achieved  by  this  new  and  scientific  apparatus, 
vhich  it  took  years  to  bring  to  perfection.  On  the  space  it  occupied 
near  the  foot  of  the  Eiffel  Tower,  in  the  very  centre  of  the  Exhibition, 
it  offered  the  most  marvellous  synthesis  of  the  great  spectacles  of  life 
and  nature. 

How  has  this  astonishing  result  been  obtained?  The  process, 
though  complicated  and  requiring  an  apparatus  of  mathematical  pre¬ 
cision,  may  be  easily  described.  It  is  produced  by  a  series  of  cinemato¬ 
graphs  of  a  new  and  special  type,  connected  one  with  another  and 
worked  by  a  single  wheel,  the  cogs  of  which  are  so  exactly  adjusted  that 
they  produce  absolute  synchronism  of  movement.  The  pictures,  which 
pass  at  the  rate  of  from  35,000  to  40,000  a  minute  in  the  ten  synchronic 
apparatus  placed  in  the  centre,  under  the  car  of  the  balloon  in  which 
the  travellers  are  seated,  are  projected  upon  the  decagonal  surface  of 
an  immense  panorama,  the  invariable  distance  of  which  is  so  calculated 
that  the  figures  of  the  foreground  are  life-size.  Thanks  to  another 
new  process,  by  which  it  has  been  possible  to  obtain  all  the  richness 
and  gradation  of  natural  color  on  the  films,  the  illusion  of  reality  be¬ 
comes  complete,  or  rather,  it  is  reality  itself  which  is  resuscitated, 
living  and  complete,  round  the  spectator. 

EIFFEL  TOWER. 

This  unique  structure,  visible  from  every  point  of  Paris,  stands  at 
the  Jena  Bridge  entrance  to  the  Champ  de  Mars,  and  the  vista  from  the 


BUILDING  CONTAINING  THE  “TOUR  OF  THE  WORLD.’ 


SUPPLEMENTAL  PALACES  AND  SIDE-SHOWS. 


539 


Trocadero  across  the  Bridge*  and  to  the  southern  end  of  the  Champ 
de  Mars  esplanade  is  not  interrupted  by  the  high  and  spreading  arches 
which  sustain  the  superstructure  of  the  tower.  The  commanding 
structure  was  one  of  the  main  attractions  of  the  Exposition  of  1889,  as 
it  is  that  of  1900.  It  is  the  loftiest  tower  in  the  world,  by  the  side  of 
which  St.  Peter  and  the  Pyramids  are  as  mere  pygmies  to  a  giant. 
Needless  to  say,  it  is  also  a  marvellous  example  of  mechanical  skill,  and 
a  complete  command  of  the  science  of  ironmastery.  The  original  idea 
of  its  construction  emanated  from  the  fertile  brain  of  M.  Ruquier,  the 
eminent  engineer  of  the  firm  of  Eiffel.  It  was  built  in  less  than  three 
years,  between  January,  1887,  and  March,  1889.  Entirely  constructed 
of  iron,  it  weighs  15,760,000  pounds,  and  is  held  together  by  25,000,000 
rivets.  Strange  as  it  may  appear,  the  number  of  men  employed  in 
building  this  second  Tower  of  Babel  was  nothing  like  so  great  as 
might  be  imagined — only  250  being  engaged  in  building  the  three 
upper  stories.  Beyond  being  repainted  a  pale  yellow,  the  tower  has 
undergone  no  change  since  it  was  first  opened.  Not  less  than  60,000 
pints  of  paint  were  employed  upon  each  coating,  as  a  cost  of  $20,000. 

It  is  illuminated  by  no  less  than  7,000  electric  lights  of  ten  candle 
power  each.  The  four  new  elevators  convey  without  overcrowding 
100  persons  each  ascension,  and  as  they  go  up  and  down  ten  times 
per  hour,  it  is  calculated  that  32,000  persons  can  accomplish  the  jour¬ 
ney  to  the  top  of  the  Tower  daily. 

The  view  from  each  of  the  platforms  is  of  unsurpassed  magnifi¬ 
cence,  especially  on  a  fine  clear  day.  Not  unfrequently  the  visitor  may 
chance  to  behold  some  very  remarkable  asmospherical  effects,  such  as 
the  trailing  of  a  storm  over  Paris,  or  the  sudden  apparition  of  a  rain¬ 
bow.  In  a  certain  sense,  however,  as  a  mere  panorama  of  the  city 
proper,  this  view  is  inferior  to  the  one  obtained  from  the  terrace  of  the 


26 


540 


THE  PARIS  EXPOSITION. 


Basilica  at  Montmarte  which  overlooks  the  monumental  part  of  Paris, 
lying  stretched  at  your  feet  like  a  map.  But  the  Exhibition  with  its 
marvellous  palaces  and  pavilions,  its  gardens  and  terraces,  is  seen  to 
the  greatest  advantage,  and  produces  an  effect  of  confused  architectural 
magnificence  never  to  be  forgotten,  recalling  in  many  ways  one  of  these 
fantastical  panoramas  conjured  up  by  the  vivid  imagination  of  Martin 
in  his  extraordinary  pictures  of  ancient  Babylon,  Rome,  and  Jerusalem. 
Far  away  beyond  the  Champ  Elysee  can  be  seen  standing  out  against 
the  horizon  the  domes  and  towers  of  buildings  whose  fame  is  world¬ 
wide.  Notre  Dame,  the  Louvre,  the  tower  of  St.  Germain  des  Pres, 
and  St.  Sulpice,  the  dome  of  the  Pantheon  and  the  towers  of  a  hun¬ 
dred  other  landmarks  celebrated  in  history  and  romance. 

The  night  panorama  from  the  Eiffel  Tower  is  even  more  wonder¬ 
ful  than  that  to  be  seen  by  daylight.  The  Exhibition  was  then  lined 
in  fire.  The  gardens  sparkled  with  fiery  flowers  of  every  rainbow  hue, 
and  the  tiers  on  the  long  avenues  sparkled  with  stars  which  dim  those 
of  the  clearest  heaven  above.  The  Seine,  too,  added  an  infinite  charm 
to  the  wonderful  display.  The  Pavilions  of  All  Nations  reflected  their 
illuminated  cupolas  and  towers  in  the  waters  which  scintillated  with 
myriad  reflections  and  were  traversed  incessantly  by  countless  boats, 
each  with  a  colored  light  at  its  prow.  Far  away  against  the  soft  light 
of  the  evening  sky,  the  domes  and  towers  of  Paris  stood  out  in  ebon 
distinctness,  forming  an  unsurpassed  contrast  to  the  glowing  scene 
immediately  beneath  the  spectator. 

MOVABLE  PAVEMENT. 

A  unique  feature  of  the  Exposition  was  the  Plateforme  Mobile — 
Movable  Platform,  or  Pavement.  It  was  perpetually  on  the  move  round 
the  Exposition,  and  all  a  person  who  wished  to  go  to  the  various  sec- 


SUPPLEMENTAL  PALACES  AND  SIDE-SHOWS.  54* 

tions  reached  by  the  moving  floor  had  to  do  was  to  step  aboard  and 
wait  until  the  platform  arrived  at  his  destination,  when  he  as  freely 
could  step  off  again.  The  platform  ran  above  head  along  the  Quai 
d’Orsay  to  the  Pont  d’lena,  doubled  back,  and  proceeded  along  the 
eastern  front  of  the  buildings  that  enclosed  the  Champ  de  Mars  and 
crossing  to  the  south  side  of  the  Avenue  de  la  Motte  Picquet,  came 
down  the  western  side  of  the  buildings  facing  the  Invalides. 

In  mechanism  it  consisted  of  a  fixed  footway  and  two  movable 
footways  worked  at  different  speeds,  the  one  travelling  three  miles  per 
hour,  the  other  five  miles  per  hour.  The  movable  footways  presented 
the  appearance  of  endless  ribbons,  constructed  with  a  short  truck  with¬ 
out  wheels,  supported  by  the  two  next  trucks,  which  were  supplied 
with  four  wheels.  Under  each  truck  was  fixed  a  kind  of  rail,  the  ends 
of  which  were  joined  to  those  of  the  next  trucks. 

The  wheels  of  the  trucks  provided  with  them  ran  on  rails,  secured 
by  plates  screwed  into  wooden  sleepers.  Motion  was  produced  by  the 
adhesion  of  axile  powder  to  moving  boards  worked  by  electric  trucks 
placed  along  the  whole  length  of  the  railway.  The  entire  arrangement 
was  raised  on  an  iron  viaduct  supported  by  wooden  stakes,  so  that  the 
footways  were  on  a  level  with  the  first  stories  of  the  Exhibition 
pavilions.  The  platform  was  about  12  feet  broad,  and  the  footway  of 
the  express  train  7  feet  broad.  Hand-rails  were  placed  at  regular  in¬ 
tervals  on  the  sliding  footways  to  assist  passengers  in  crossing  from  one 
to  the  other. 

THE  HALL  OF  FETES. 

The  Hall  of  Fetes  was  one  of  the  most  remarkable  Courts  of  the 
Exposition  of  1900.  It  stood  in  the  rear  of  the  Palace  of  Electricity 
and  between  the  two  immense  Palaces  devoted  to  Agriculture  and  to 


542 


THE  PARIS  EXPOSITION. 


Foods.  The  Court  space  was  about  470  by  550  feet.  In  the  centre 
rose  an  enormous  glass  cupola  300  feet  in  diameter,  and  supported 
upon  eight  prodigious  iron  piers,  each  weighing  33,000  pounds.  Al¬ 
though  this  magnificent  hall  was  in  reality  a  square,  it  had  internally  the 
appearance  of  a  rotunda,  from  the  peculiar  disposition  of  the  seats, 
which  could  accommodate  12,000  persons  on  the  ground  floor  and 
2,000  in  the  boxes  and  galleries. 

Four  principal  entrances  admitted  into  the  auditorium — one  op¬ 
posite  the  Avenue  Bourdonnais,  the  second  the  Avenue  Suffren,  the 
third  and  principal  faced  the  Military  School,  and  the  fourth  opened 
into  the  Electrical  Department.  One  of  the  large  boxes  over  the 
principal  entrance  was  reserved  for  the  President  of  the  Republic.  On 
either  side  were  eight  spacious  tribunes,  intended  for  distinguished 
guests  and  their  friends. 

The  decorations  of  the  Hall  were  exceptionally  artistic  and  elab¬ 
orate,  the  paintings  being  by  acknowledged  masters.  Thus,  M.  Cor- 
mon  chose  for  his  noble  work,  Electricity,  Locomotion,  Mining,  and 
the  history  of  Coal  from  its  extraction  from  the  mine  to  its  consum¬ 
mation  as  fuel  or  conversion  into  gas.  M.  Flameng  illustrated  in  his 
decorative  paintings  many  kinds  of  industry,  such  as  the  making  of 
furniture,  the  history  of  costumes,  the  story  of  the  spinning-jenny,  silk 
weaving  and  chemistry.  M.  Maignan  dealt  with  Agriculture  and  Hor¬ 
ticulture  in  a  series  of  superb  panels  in  which  forest  interiors  were 
shown,  as  well  as  richly  cultivated  gardens.  M.  Rochgrosse  devoted 
his  eminent  talent  to  depicting  Social  Economy,  the  Colonies,  the 
Fatherland,  Justice,  and  the  Army  and  Navy.  Each  picture  by  these 
artists  was  65  feet  in  length  by  90  feet  in  height,  and  the  artists  were 
paid  by  the  State  $5,600  each  for  their  contributions. 


/ 


SCENE  ON  THE  MOVING  SIDEWALK. 


SUPPLEMENTAL  PALACES  AND  SIDE-SHOWS. 


345 


The  spaces  between  the  arches  which  supported  the  dome  were 
adorned  by  pictures  representing  the  Four  Seasons,  by  master  artists; 
and  also  by  paintings  representing  the  twelve  months  of  the  year.  On 
the  lateral  vaultings  was  found  a  remarkable  series  of  paintings  repre¬ 
senting  the  manners  and  customs  of  the  ancients.  Over  the  north 
tribune  was  a  masterpiece  by  Motte,  representing  Snow  and  Ice;  over 
the  southern,  the  Desert  was  depicted  by  Begaux;  over  the  eastern, 
Laurens  depicted  Woods  and  Mountains;  over  the  western  was  the 
Ocean,  by  Courtois.  Each  of  these  works  measured  over  500  square 
feet.  Other  artists  contributed  rich  series  of  panels  representing  fruits, 
flowers,  etc.  The  vestibules  were  elaborately  decorated  with  paintings 
by  Cesbrou,  Bonnecourt,  and  Zarbowsky. 

In  this  colossal  decorative  scheme,  sculpture  found  a  prominent 
place.  In  the  vault  were  magnificent  bas-reliefs,  by  Barran,  symboliz¬ 
ing  Industry  and  Mechanical  Progress  as  applied  to  steam  and  water. 
Leroux  splendidly  illustrated  in  reliefs,  Literature,  Education,  Teach¬ 
ing  and  Philosophy;  Massiglier,  Painting,  Sculpture,  Architecture  and 
Engraving;  Roland,  Mathematics,  Music,  Medicine  and  Surgery.  At 
the  foot  of  the  magnificent  staircase,  Debrie  contributed  a  group  en¬ 
titled  The  Sowers,  and  another  on  the  opposite  side  representing  the 
Reapers;  while  Aube  contributed  two  fine  companion  groups  repre¬ 
senting  the  Dairy  and  Harvest.  In  addition  to  these  there  were  numer¬ 
ous  allegorical  figures  representing  beer,  wine,  liquors  and  cultivated 
plants. 

Each  of  the  thirty  nations  which  exhibited  at  the  Exposition  were 
represented  in  the  Hall  by  statues  nearly  eight  feet  high,  wrought  by 
distinguished  artists.  Thus,  the  United  States  was  represented  by  the 
statue  of  A  Working  Boy;  Mexico,  by  a  Cowboy;  Hungary,  a  Magyar; 
Germany,  a  Student;  Great  Britain,  a  Sailor;  Austria,  a  Tyrolese;  Swit- 


546 


THE  PARIS  EXPOSITION, 


zerland,  an  Alpine  Shepherd;  Siam,  a  Siamese;  Corea,  a  Corean;  Swe¬ 
den,  a  Swede;  Turkey,  a  Turk;  Norway,  a  Fisherman;  Belgium,  a 
Miner;  and  so  of  the  other  countries.  Each  of  these  statues  supported 
a  lamp.  Three  very  important  groups  of  statuary  were  also  conspicuous 
in  the  Hall;  one  by  Perrin,  representing  A  Child  Feeding  Fowls;  one 
by  Dubois,  Two  Fishermen  in  a  Boat;  one  by  Captier,  A  European  and 
a  Negro. 

The  Hall  of  Fetes  was  lighted  by  4,500  incandescent  lamps.  It 
was  in  this  magnificent  Hall  that  the  inaugural  ceremonies  of  the  Ex¬ 
position  took  place,  on  March  14,  1900,  and  in  it  were  distributed  the 
Exposition  prizes  and  awards. 

THE  AMERICAN  CORN  KITCHEN. 

On  the  afternoon  of  May  17,  1900  the  United  States  agricultural 
annex  building  in  the  quinconce  of  the  Champ  de  Mars  was  the  scene 
of  one  of  the  most  unique  dedications  that  had  yet  characterized  the 
progress  of  the  Exposition.  The  occasion  was  the  opening  of  the  Amer¬ 
ican  corn  kitchen,  located  on  the  upper  floor  of  the  annex.  Here  the 
United  States  Commission  had  established  and  fully  equipped  a  large 
kitchen,  employing  the  most  approved  culinary  appliances,  with  the 
object  of  preparing  and  distributing  free  to  visitors,  daily,  samples  of 
the  numerous  articles  of  diet  prepared  from  maize.  The  value  of  corn 
as  a  food  product  has  heretofore  been  unappreciated  in  Europe,  and 
the  purpose  of  this  unique  enterprise  was  to  demonstrate  to  her  millions 
of  inhabitants  that  this  great  American  staple  constitutes  the  basis  of  an 
infinite  number  of  dishes,  ranging  from  the  cheapest  and  most  whole¬ 
some  bread  to  the  most  delicate  of  desserts.  The  kitchen  was  fur¬ 
nished  throughout  with  every  convenience  known  to  culinary  science, 
including  an  exhibition  gas  range  of  marvelous  capabilities.  Directly 


SUPPLEMENTAL  PALACES  AND  SIDE-SHOWS. 


547 


before  this  base  of  operations  and  particularly  flanking  either  side  was  a 
typical  American  lunch  counter,  appropriately  garnished  at  intervals 
with  glass  tureens  heaped  high  with  freshly  grilled  popcorn,  and  deco¬ 
rated  at  each  corner  with  a  classical  pyramid  of  heroic  Missouri  maize — 
on  the  cob.  Finally  the  entire  section  occupied  by  the  kitchen  and 
.  lunch  space  was  enclosed  within  a  tall  rustic  facade,  the  entrance 
through  which  was  draped  with  the  stars  and  stripes,  intermingled  with 
the  French  tri-color.  Immediately  over  the  portal  was  a  legend  in 
generous  gold  characters  setting  forth  the  nature  of  the  establishment 
within.  The  enormous  quantities  of  corn  products  necessary  for  the 
maintenance  of  this  free  distributing  agency  were  entirely  supplied  by 
various  American  manufacturers  of  the  different  ingredients.  The 
enterprising  promoters  who  were  thus  furnishing  such  substantial  sup¬ 
port  to  the  United  States  Commission  in  its  unique  and  practical  pur¬ 
suit  of  a  European  market  for  American  corn  may  some  day  be  credited 
with  having  contributed  to  the  Paris  Exposition  its  most  valuable 
exhibit. 

The  idea  of  an  American  corn  kitchen  originated  with  Commis¬ 
sioner  General  Peck,  but  its  successful  consummation  was  largely 
creditable  to  the  supervision  of  Director  of  Agriculture  Charles  Rich¬ 
ards  Dodge,  who  in  turn  was  ably  assisted  by  Col.  Clark  E.  Carr,  presi¬ 
dent  of  the  American' Maize  Propaganda,  and  B.  W.  Snow,  secretary 
of  that  organization.  The  operative  staff,  numbering  seven  people, 
included  two  American  colored  women,  brought  over  because  of  their 
recognized  skill  in  concocting  cornmeal  delicacies,  assisted  by  two  ex¬ 
pert  chefs  of  the  French  school. 

Owing  to  the  limited  spac^  occupied  by  the  corn  kitchen  the 
guests  invited  to  the  recent  opening  ceremony  were  almost  entirely 
confined  to  representatives  of  the  press — much  to  the  embarrassment 


54^  THE  PARIS  EXPOSITION 

of  the  culinary  force,  which  had  provided  a  most  tempting  bill  of  fare  in 
honor  of  the  occasion. 

The  honor  of  turning  over  the  institution  to  Commissioner  Gen¬ 
eral  Peck  and  Director  Dodge  naturally  devolved  upon  Col.  Carr,  who 
was  charged  with  its  immediate  management.  In  the  course  of  this 
procedure  the  Colonel  remarked:  “Some  months  ago  Mr.  Snow  and 
myself  were  charged  with  the  responsibility  of  inaugurating,  in  con¬ 
nection  with  the  United  States  exhibit,  a  demonstration  of  the  excel¬ 
lence  of  Indian  corn  as  a  food  for  man.  This  involved  providing  a 
large  amount  of  corn  foods,  cooks  experienced  in  their  preparation, 
and  also  the  complete  equipment  of  this  corn  kitchen  and  restaurant. 
It  has  all  been  done  and  is  now  ready  to  be  turned  over  to  the  United 
States  Commission  and  the  Department  of  Agriculture. 

“Indian  corn  has  contributed  largely  toward  giving  Americans  the 
vigor  of  mind  and  body  for  which  they  are  celebrated.  It  is  wholesome, 
nutritious  and  delicious,  and,  in  placing  it  before  the  representatives  of 
all  lands  as  food  for  the  table,  it  is  doing  them  a  more  important  ser¬ 
vice  than  ourselves. 

“There  is  a  disposition  among  the  French  people  to  ‘prove  all 
things  and  hold  fast  to  that  which  is  good.’  In  Paris  American  pro¬ 
ducts  are  generally  popular  and  much  sought  after,  and  we  are  en¬ 
couraged  to  believe  that  a  food  so  popular  among  the  80,000,000  of 
inhabitants  in  the  United  States  will  be  adopted  here,  and  we  hope, 
through  the  French  cuisine,  to  reach  all  the  peoples  of  the  earth?” 

The  aims  of  the  American  corn  kitchen  were  not  restricted  solely 
to  cultivating  a  taste  on  the  part  of  visitors  for  maize  foods.  In  addi¬ 
tion  thereto  recipes  for  the  numerous  substantiate  and  delicacies,  of 
which  corn  is  the  basis  were  circulated  among  the  hotels  and  restau¬ 
rants  of  Paris,  a  number  of  which  have  in  consequence  already  incor- 


SUPPLEMENTAL  PALACES  AND  SIDE-SHOWS. 


549 


porated  various  maize  dishes  with  their  cuisine.  While  a  more  exten¬ 
sive  demand  and  higher  prices  for  Indian  maize  would  create  increased 
prosperity  throughout  the  United  States  generally,  such  advantages 
would  prove  of  especial  importance  to  producers  of  the  Missouri,  Mis¬ 
sissippi  and  Ohio  Valleys,  which  districts  comprise  what  is  known  as 
the  great  corn  belt  of  the  Northwest. 

THE  GREAT  TELESCOPE. 

They  have  not  yet  found  elephants  on  the  moon.  The  giant  tele¬ 
scope,  in  the  Palace  of  Optics,  that  is  one  of  the  chief  attractions  of 
the  Paris  Exposition  approaches  its  perfect  adjustment  every  day,  but 
such  is  its  combined  massiveness  and  delicacy  that  unavoidable  delays 
are  likely  for  a  short  time  yet  to  keep  the  secret  of  our  satelites.  What 
shall  we  see?  The  cable,  any  day,  may  give  the  world  news  that  the 
moon  was  once  inhabited,  for  the  astronomers  agree  that  the  new 
telescope  will  bring  into  view  any  edifice  as  large  as  the  Cathedral  of 
Notre  Dame  at  Paris. 

The  two  other  greatest  telescopes  are  the  Yerkes  instrument  that 
figured  at  the  Chicago  Exposition,  and  the  grand  equatorial,  the  pride 
of  the  late  Berlin  Exposition.  The  object  glass  of  the  former  was  3  feet 
5  inches  in  diameter,  while  that  of  the  latter  was  3  feet  7  inches.  The 
object  glasses  of  the  grande  lunette — as  the  Paris  siderostat  is  popu¬ 
larly  called — are  4  feet  each.  Now,  while  each  extra  inch  gained  is  a 
marvel  in  itself,  the  distinction  of  the  new  telescope  does  not  end  with 
the  superiority  of  its  object  glasses.  For  the  first  time  in  the  history 
of  great  lenses,  full  play  is  given  to  their  utmost  focal  distances.  For 
the  first  time  it  has  been  decided  “not  to  subordinate  their  powers  to 
any  difficulties  of  mechanical  execution.” 


S$e 


THE  PARIS  EXPOSITION. 


The  Yerkes  telescope,  65  feet  long  and  5  feet  in  diameter,  is  like 
an  immense  steel  cannon  pointed  to  the  sky.  It  moves  in  a  vast  cupola 
250  feet  in  circumference,  the  cupola  moving  with  it,  as  it  slowly  draws 
a  bead  on  this  star  and  that.  Its  weight  is  so  great  that  the  original 
flooring  yielded.  The  focal  distance  of  its  object  glass  was  curtailed 
to  65  feet,  for  fear  that  a  longer,  heavier  telescope  could  not  be  handled. 
Now  in  the  new  Paris  instrument  the  full  focal  distance  of  its  4  feet 
lenses — 195  feet — is  utilized.  Were  it  to  move  in  a  cupola — the  cupola 
would  have  to  be  650  feet  in  circumference — it  would  have  to  be  kept 
going  constantly  at  the  rate  of  50  feet  an  hour,  in  order  to  keep  up 
with  the  rotation  of  the  earth  on  its  axis.  Three  times  the  length  of 
the  Yerkes  telescope,  with  only  a  foot  more  of  diameter,  its  weight 
would  bend  its  tubes.  Its  foundations  would  have  to  be  something 
hitherto  undreamed  of.  The  grande  lunette  could  not  be  pointed  to 
the  sky. 

This  new  telescope,  therefore,  lies  flat  on  the  earth;  and  the  image 
of  the  star  or  planet  is  caught  by  a  7-foot  mirror  and  reflected  to  the 
object  glass  in  front  of  it.  The  possibility  of  making  such  an  immense 
mirror  was  long  ridiculed.  The  celebrated  glass  founders  of  Saint 
Gobain,  after  many  attempts,  threw  up  its  construction  as  an  unpre¬ 
cedented  undertaking  of  doubtful  success.  The  work,  taken  up  by 
the  Glaceries  de  Jeumont,  was  pursued  under  continual  discourage¬ 
ments — which  account,  in  part,  for  the  present  delay. 

One  objection  to  these  stationary  telescopes  had  heretofore  been 
the  apparent  movement  of  the  stars,  which  made  many  precise  calcu¬ 
lations  impossible.  In  the  present  construction  the  micrometer  with 
the  eye-piece  is  given  a  rotary  movement  which  preserves  the  images 
in  their  apparent  places.  For  the  rest,  the  7-foot  mirror — it  would  take 
tip  the  whole  side  of  a  room — keeps  up  with  the  rotation  of  the  earth 


SUPPLEMENTAL  PALACES  AND  SIDE-SHOWS. 


55 1 

by  means  of  clockwork.  According  to  the  angle  given  to  it  at  the 
beginning  of  the  observation,  it  can  catch  any  part  of  the  sky  and  hold 
it.  The  mass  of  glass  weighs  7,000  pounds.  Its  holder  and  machinery 
— without  the  stationary  frame — weighs  30,000  pounds.  This  weight, 
to  be  stable,  floats  in  a  bath  of  mercury.  Each  of  the  flints  of  the  grande 
lunette  weighs  800  pounds  and  cost  $15,000.  Each  of  the  object  glass 
crowns  weighs  500  pounds.  They  have  $50,000  worth  of  glass  in  them 
and,  polished,  are  worth  $120,000. 

Any  day,  now,  the  cable  message  may  flash  around  the  world,  de¬ 
scribing  what  this  wonderful  instrument  has  discovered  on  the  moon 
and  on  the  planet  Mars.  In  the  meantime,  what  are  we  to  expect?  It 
is  said  that  the  moon  will  give,  at  the  focus  of  the  grand  lunette,  an 
image  23.4  inches  in  diameter.  Up  to  the  present  time  the  greatest  en¬ 
largements  of  focal  images  have  been  4,000  times.  With  the  new  tele¬ 
scope  they  may,  under  certain  favorable  circumstances,  be  enlarged 
10,000  times.  This  will  be  as  if  the  picture  of  the  moon  thrown  on  a 
screen  should  stretch  out  234,000  inches — or  almost  four  miles  in 
diameter.  No  one,  of  course,  will  see  “the  moon,”  therefore,  but  only 
“moon  landscapes,”  or  “moonscopes.”  Some  say  it  will  bring  the 
moon  within  forty  miles.  Others  say,  “within  a  few  miles.”  M.  Van- 
devyver,  of  Brussels,  has  put  himself  on  record  with  the  promise  that 
we  shall  be  brought  near  enough  to  view  the  evolutions  of  a  lunar 
army  corps  or  fleet.  The  men  in  charge  of  the  telescope  in  the  great 
Optical  Palace  on  the  Exposition  grounds,  declare  that  it  will  show 
“any  building  as  large  as  Notre  Dame.”  It  will,  therefore,  be  a  pity  if 
there  are,  on  the  moon,  no  army  corps  nor  fleets  nor  buildings  as  large 
as  the  Notre  Dame  Cathedral. 


THE  PARIS  EXPOSITION. 


So- 

PALACE  OF  DANCING. 

On  the  Street  of  the  Queen,  between  the  Palace  of  Congress  and 
Palace  of  Horticulture,  stood  the  Palace  of  Dancing  where,  upon  the 
stage  of  a  dainty  theatre  was  seen  the  history  of  dancing  throughout 
the  ages  and  in  every  country.  To  enhance  the  beauty  of  the  spectacle, 
and  to  do  away  with  whatever  might  be  too  didactic  in  a  chronological 
exposition  of  the  different  epochs,  three  ballets  were  there  organized. 
In  the  first,  “To  whom  the  Crown  ?”  were  to  be  seen  modern  dances — 
English,  Russian,  Italian,  Spanish,  Greek,  etc.;  in  the  second,  “The 
Shepherd’s  Hour,”  came  popular  dances,  the  Sabotiere  of  Brittany  and 
the  gay  Farandole  of  Provence;  finally,  in  the  third,  “The  Kingdom  of 
the  Dance,”  figured  the  principal  dances  of  ancient  times. 

There  was  presented  the  celebrated  Wasp  Dance  of  Egypt;  the 
Megarian  dances  of  Greece,  in  which  women,  clothed  in  white  gar¬ 
ments,  like  virgins  of  the  Panathenaea,  were  bound  together  by  scarfs 
which  they  held  in  their  hands,  formed  a  long  row,  and  balanced  five 
steps  back  and  three  forward  obliquely.  The  music  was  inspired  by 
popular  Greek  airs.  The  Greeks,  with  whom  the  sentiment  of  har¬ 
mony  was  innate,  never  considered  the  dance  merely  as  a  spectacle. 
At  the  solemn  or  joyous  moments  of  their  lives  they  took  part  in  the 
dance,  and  the  vision  of  Sophocles  is  never  to  be  forgotten,  as  he  led 
the  chorus  of  youths  dancing  the  paen  around  the  trophies  piled  up 
on  the  sea-shore,  after  the  victory  of  Salamis. 

The  dances  of  Rome  offered  nothing  of  the  kind.  They  were  all 
noisy  and  coarse.  The  Saturnalia  gave  a  vivid  image  of  a  popular  fes¬ 
tival;  then  the  slaves  took  the  place  of  the  masters  and  were  served  by 
them.  The  Saturnalia,  however,  rapidly  degenerated  into  orgies, 
where  there  was  no  law  but  one’s  fancy.  Processions  of  grotesque  per¬ 
sonages  and  masked  figures,  fauns  and  satyrs,  nymphs  and  bacchantes, 


PALACE  OF  DIVERSIFIED  INDUSTRIES— STREET  OF  GRENELLE  FRONT. 


SUPPLEMENTAL  PALACES  AND  SIDE-SHOWS. 


555 


intermingled  and  formed  improvised  dances  without  rhyme  or  reason. 

In  the  Palace  of  Dancing  the  Orient  was  revived  in  the  bayaderes 
of  India.  Here  again  the  dances,  more  voluptuous,  possessed  only  a 
spectacular  merit,  and,  like  most  of  the  Oriental  dances,  could  be  ad¬ 
mitted  on  a  European  stage  only  after  having  been  greatly  modified. 
The  characteristic  charm  of  the  Hindu  dances  laid  in  the  fact  that  the 
body  alone  had  part  in  them,  the  head,  arms,  and  lower  limbs  having 
no  share. 

From  ancient  Gaul  was  given  the  Dance  of  the  Swords,  set  in  a 
scene  in  the  center  of  which  was  erected  a  dolmen.  The  dancers  sprang 
over  their  swords;  then,  holding  them  aloft,  they  formed  rose-  and 
cross-shaped  figures,  striking  their  swords  together  and  following  the 
varied  cadence  of  the  music.  This  dance  still  exists,  in  a  modified  form, 
in  Scotland  and  in  the  provinces  of  the  Basques. 

One  was  next  carried  back  to  a  dance  of  the  Middle  Ages,  the 
Branle.  Dancers  advanced  and  turned  about,  joining  hands,  and  sing¬ 
ing  some  one  of  the  old  popular  songs  that  have  retained  their  charm 
in  their  very^naivete.  Each  province  had  its  special  branles — the  Branle 
of  the  Horses,  the  Goose  Branle,  or  the  Branle  of  the  Fire-brands.  The 
last  still  exists  in  certain  parts  of  France,  and  is  danced  about  bonfires 
lighted  in  the  public  places  or  in  the  forests,  either  on  the  first  Sunday 
in  Lent  or  on  mid-summer  eve. 

Then  were  shown,  also,  modern  ballets  from  the  Italian  Renais¬ 
sance.  The  luxuriousness  of  costume,  the  pomp  of  procession,  the 
harmony  of  music  and  verse,  the  grace  of  steps  and  attitudes,  united  in 
forming  a  magnificent  spectacle.  From  Italy,  too,  came  the  personages 
of  the  eternal  comedy,  harlequins,  columbines,  pierrote  and  pifferari. 
Pierrot  bewailed  his  sad  lot,  but  laughed  and  danced.  Columbine  flirted 


556 


THE  PARIS  EXPOSITION. 


with  Harlequin,  who  smiled  triumphantly.  The  pipes  played  a  thin 
shrill  music,  and  the  couples  mingled  and  intermingled. 

Then  came  the  modern  popular  dances.  Here  was  the  Gavot 
dance  of  Brittany,  the  same  to-day  as  in  the  Middle  Ages.  Here,  too, 
was  the  Wince  Dance  of  Pagan  origin.  A  troup  of  Basques  reproduced 
the  curious  dances  of  men,  one  of  which  drew  its  origin  from  the  Dance 
of  the  Swords  of  Celtic  times.  England  showed  her  well-known  clowns 
and  jig-dances.  Russia  exhibited  her  flat-faced  dancers,  who  leaped 
and  pirouetted,  striking  the  floor  with  their  heels,  and,  crouching,  ran 
across  the  stage,  while  the  rest  of  the  troupe  sang,  uttered  screams,  and, 
at  times,  raised  their  shoulders  in  a  curious  movement. 

Italy  appeared  with  the  Tarantella  of  the  happy  borders  of  the 
Gulf  of  Naples,  and  with  a  rural  dance,  the  Pecoree,  wherein  figured 
shepherds  stepping  to  the  sound  of  rustic  pipes.  Spain  came  and  tri¬ 
umphed.  The  crowd  was  never  tired  of  gazing  at  its  well-known 
dances.  The  Fandango  was  shown  with  all  its  seductive  grace;  the 
Bolero  was  more  noble,  more  reserved;  a  woman  danced  a  Cachucha 
on  a  table;  and  there  was  given  a  Guaracha,  to  be  seen  now  only  on 
the  stage. 

America  did  not  send  her  negro  dancers,  but  she  triumphed  in 
the  inimitable  Fire  Dance,  the  boldest  and  most  marvelous  invention 
in  spectacular  dancing  in  any  epoch.  The  splendor  of  the  Arabian 
Nights  paled  before  the  sumptuous  magic  of  this  body  of  dancers,  about 
which  beat  innumerable  waves  of  flame,  unceasingly  renewed.  The 
Palace  of  Dancing  did  not  monopolize  the  dances  of  the  Exposition. 
They  were  seen  at  street  corners,  in  the  various  pavilions  of  eastern 
nations,  in  the  cafes  and  restaurants. 


SUPPLEMENTAL  PALACES  AND  SIDE-SHOWS. 


557 


FALL  OF  THE  BASTILE  FETE. 

The  14th  of  July,  1900,  was  a  date  that  will  long  be  remembered 
in  the  French  capital — that  will  abide  infinitely  in  the  memories  of  the 
myriad  strangers  sojourning  within  its  walls.  The  oldest  denizen  of 
the  great  festive  metropolis  can  not  recall  the  time  when  the  “Fall  of 
the  Bastile”  was  celebrated  with  such  overwhelming  enthusiasm  and 
eclat.  In  the  rosy  light  of  early  dawn  the  awakening  city  presented  a 
most  beautiful  and  unwonted  appearance.  For  a  week  previously  a 
mighty  army  of  skilled  decorators  had  been  busily  employed  in  dress¬ 
ing  the  boulevards,  the  historic  “places”  and  palatial  mansions  front¬ 
ing  thereon,  and  now  from  cornice  to  cornice  stretched  creations  of 
mingled  flowers,  foliage  and  bunting,  while  every  casement  was  em¬ 
blazoned  with  the  fluttering  tri-color  of  France  and  the  variegated  ban¬ 
ners  of  her  sister  nations.  Among  the  latter  none  were  so  predominant 
as  the  stars  and  stripes  of  America,  showing  how  large  a  percentage  of 
our  own  liberty-loving  countrymen  took  part  in  the  great  festival. 

The  classic  bridges  that  span  the  Seine  and  the  graceful  bateaus 
on  the  breast  of  its  gliding  current  were  literally  wrapped  in  the  national 
colors,  while  even  the  cab,  tramway  and  omnibus  services  did  honor  to 
the  occasion  by  decking  themselves  out  in  the  gayest  and  most  patri¬ 
otic  of  liveries  and  caparisons.  Added  to  this  the  exhibition  section 
lying  between  the  Elysee  Palace  and  the  Invalides,  the  Ecole  Militaire 
and  the  Palace  of  the  Trocadero — that  marvelous  region  whose  fame 
as  the  “City  of  Light”  has  already  spread  to  the  remotest  corners  of 
the  earth — reflected  an  increased  grandeur  that  constituted  a  fitting 
climax  to  the  imposing  spectacle.  The  various  national  palaces  along 
the  Rue  des  Nations  were  all  but  hidden  among  streaming  banners 
and  clinging  draperies,  with  which  embellishments  all  had  combined 
exquisite  floral  effects  in  greater  or  less  profusion.  The  decorations  of 


THE  PARIS  EXPOSITION. 


55S 

the  United  States  pavilion  were  especially  noticeable  for  the  magnifi¬ 
cence  and  harmony  of  their  arrangement.  With  the  mingled  colors  of 
the  sister  nations  festooned  about  its  stately  white  faqade,  were  mingled 
a  series  of  beautiful  garlands  wrought  of  deep  green  foliage,  which  lent 
a  singular  richness  to  the  general  effect. 

But,  however  vividly  the  great  dazzling  city  of  the  Parisians  im¬ 
pressed  the  millions  of  gladsome  celebrators  within  its  gates  that  day, 
the  gorgeous  scene  utterly  failed  to  portend  the  ineffable  splendor  of  the 
pageant  ushered  in  with  nightfall.  All  day  the  vast  multitudes  had  been 
surging  their  way  through  the  various  thoroughfares  leading  to  the 
great  military  review  at  Longchamps  course  to  the  central  precincts  of 
the  city.  All  day  the  air  had  vibrated  with  thrilling  cries  of  “Vive 
rArmee!”  “Vive  Loubet!”  and  “Vive  la  France!” 

But  with  the  coming  of  night  a  strange  silence  fell,  for  instead  of 
darkness  a  mighty  effulgence  suddenly  enveloped  the  city.  From 
countless  gas  globes  festooned  in  double  lines  up  and  down  the  broad 
aisles  of  the  Champs  Elysees,  throughout  the  vast  area  of  the  Place  de 
la  Concorde  and  along  the  intersecting  boulevards,  a  weird,  opalescent 
light  sprang  forth,  only  to  be  merged  into  the  white  glare  of  the  elec¬ 
tric  arcs  above  and  together  flashed  upward  and  about  in  a  resplendent 
illumination  that  verily  caused  the  stars  in  the  heavens  to  vanish  into 
fathomless  scintillating  space. 

About  the  huge  sculptured  fountains  in  the  midst  of  the  great 
square  were  flaming  national  emblems  in  ruby,  sapphire  and  dazzling 
white,  and  suspended  on  high  were  luminous  garlands  of  iridescent 
hues.  Under  influences  so  subtle  it  is  no  wonder  the  crowds  gathered 
spellbound  about  the  gay  dancing  booths  beside  the  fountains,  with 
their  graceful,  sylph-like  performers  and  ravishing  minstrelsy.  And 
yet,  enchanting  though  all  this  truly  seemed,  it  was  but  commonplace 


SUPPLEMENTAL  PALACES  AND  SIDE-SHOWS. 


559 


as  compared  to  what  lay  beyond  the  great  jeweled  gateway  leading  to 
the  empyreal  City  of  Light  to  the  westward.  But  here  the  pen  falters 
in  its  effort  to  describe,  and  one  is  impelled  to  exclaim  with  the  bard 
of  old— 

But  vain  the  poet’s  or  the  painter’s  skill 
That  heavenly  city’s  glory  to  declare! 

All  such  can  give  is  a  vision  fair 
And  gorgeous  *  *  * 

Passing  through  the  gleaming  mosaic  portal,  arched  like  an  ame¬ 
thyst  rainbow  above  the  way,  you  found  yourself  in  the  midst  of  a 
wonderful  grove,  the  trees  of  which  were  laden  with  prismatic  blos¬ 
soms  and  phosphorescent  fruits.  Besides  the  teeming  multitudes  that 
thronged  this  delphic  bower,  there  stood  within  its  foliage  a  concourse 
of  strange  statuesque  figures  in  graven  marble  and  bronze — the  per¬ 
manent  habitues  of  the  fanciful  region.  Then,  presently  emerging  from 
the  further  environs  of  the  wood,  you  beheld  before  and  about  you  the 
magnificent  spectacle  of  a  city  wrought  of  imprisoned  flame.  For  a 
space  the  senses  were  baffled  in  their  endeavors  to  interpret  the  splen¬ 
did  theme  in  its  vast  ensemble.  Then,  gradually  the  intricate,  jeweled 
tracings  resolved  themselves  into  the  familiar  turrets,  pediments  and 
towers  of  the  wonderful  castellated  city.  On  the  right  two  resplendent 
rectangular  outlines  depicted  the  symmetrical  cornices  and  transepts 
of  the  art  palaces,  the  glazed  roofs  of  which  were  aflame  with  translu¬ 
cent  brilliancy.  On  the  left  starry  causeway,  interspersed  with  dazzling 
sunbursts,  denoted  the  great  bridge  of  Alexander  III.,  beyond  which 
stretched  the  scintillating  fleur-de-lis  etchings  above  the  cornices  of 
Des  Invalides’  Palaces.  At  the  further  extremity  of  the  broad,  white 
esplanade,  dividing  these  splendid  structures,  upon  a  towering  shadowy 
phantom,  arose  the  fiery  outlines  of  a  majestic  edifice.  It  was  the 


27 


56o 


THE  PA'RIS  EXPOSITION. 


historic  Hotel  des  Invalides,  wherein  rests  all  that  is  mortal  of  Napoleon, 
the  mighty  genius  whose  memory  France  honors  above  all  her  heroic 
dead.  And  this  worshipful  veneration  could  hardly  have  been  more 
fittingly  revealed  than  by  thus  making  the  tomb  of  their  illustrious 
leader  the  cynosure  of  gazing  millions  on  this  one  supreme  night  of  the 
great  international  carnival. 

To  the  westward  from  the  Invalides  the  scene  presented  an  unin¬ 
terrupted  blaze  of  palpitating  splendor,  through  the  midst  of  which, 
like  a  flood  of  mercury,  swept  the  majestic  Seine,  its  gorgeous  path¬ 
way  crossed  and  recrossed  by  glittering  viaducts,  and  its  shimmering 
surface  counter-illumined  by  the  myriad-colored  lights  borne  hither 
and  thither  by  festive  water  craft.  Along  the  glittering  strands  on 
either  side  of  this  marvelous  thoroughfare  arose  the  palaces  of  the 
nations,  radiant  from  foundation  to  turret  stories  with  numberless 
gleaming  brilliants.  Behind  these,  from  the  midst  of  the  Champs  de 
Mars,  the  colossal  Tower  Eiffel  was  defined  with  startling  fidelity,  its 
7,000  gleaming  orbs  crowned  by  a  monster  searchlight,  the  fiery  rays  of 
which  pierced  leagues  into  the  night  far  beyond  reach  of  the  con¬ 
glomerate  effulgence  of  the  magical  city  below. 

From  the  immense  archways  at  the  base  of  the  great  tower,  of  all 
the  various  points  of  vantage,  the  effects  of  the  illuminations  were  most 
bewilderingly  beautiful.  Spanning  the  southern  extremity  of  the  en¬ 
chanting  parterre  in  the  immense  hollow  square  formed  by  the  envi¬ 
roning  palaces  was  the  exquisite  filigree  cornice  over  the  famous  Chat¬ 
eau  d’Eau,  or  Palace  of  the  Waters.  The  details  in  the  illuminations 
of  this  marvelous  structure  are  as  incomprehensible  as  they  are  entranc¬ 
ing — the  more  so  because  of  the  constantly  changing  hues  of  the 
myriad  lights  in  its  intricate  motif.  From  a  cavernous  grotto  in  the 
centre  of  this  dazzling  fagade  plunged  a  great  cataract  of  molten  rubies, 


SUPPLEMENTAL  PALACES  AND  SIDE-SHOWS. 


56f 


emeralds  and  sapphires,  while  from  the  midst  of  a  shimmering  lake 
into  which  they  poured  volumes  of  the  same  prismatic  liquid  arose  high 
in  air,  descending  in  graceful  cascades  of  iridescent  spray. 

To  the  east  the  splendid  Palais  Lumineux,  always  a  centre  of  at¬ 
traction,  seemed  never  so  radiantly  beautiful  as  on  this  night,  while 
to  the  westward  of  the  constellated  surface  of  the  mammoth  globe 
celeste  glittered  and  sparkled  with  unwonted  fantasy.  Then,  looking 
northward,  the  superb  palace  of  the  Trocadero,  beyond  the  flashing 
Pont  dTena,  lifted  its  resplendent  minarets  into  the  starless  heavens 
and  spread  its  bright,  crescent-like  wings  protectingly  about  the  Ori¬ 
ental  district  that  lay  between. 

Many  a  brilliant  season  will  the  annals  of  Parisian  history  record 
for  its  great  universal  exposition.  But  none  will  approach  in  supernal 
splendor  that  one  night  when  the  empyreal  City  of  Light  kindled  its 
sacred  fires  in  Liberty’s  name  over  the  grave  of  the  fallen  Bastile. 

THE  LAFAYETTE  MONUMENT. 

If  July  14,  1900,  was  the  French  fete-day  of  the  Exposition,  in 
commemoration  of  the  fall  of  the  Bastile,  July  4,  1900,  was  no  less  the 
American  fete-day,  on  which  the  monument  to  Lafayette,  the  gift  of 
4,000,000  school  children,  was  unveiled  and  presented  to  the  French 
Republic. 

It  seemed  almost  incredible  that  nearly  three-quarters  of  a  cen¬ 
tury  could  have  passed  since  the  death  of  one  so  deservedly  near  to  the 
hearts  of  all  liberty-loving  Americans  ere  this  act  of  commemoration 
should  be  conceived  and  accomplished.  Through  all  these  years  Lafay¬ 
ette’s  hallowed  clay  has  reposed  in  the  quiet  cemetery  of  Petit  Picpus, 
near  the  extreme  east  wall  of  Paris,  his  grave  marked  only  by  a  plain 
slab  of  granite.  Close  beside  it  is  the  tomb  of  his  wife,  while  scattered 


S6* 


THE  PARIS  EXPOSITION. 


indiscriminately  about  the  sacred  plot  are  the  burial  places  of  nearly 
1500  martyrs  who  perished  in  his  day  by  the  guillotine.  Although  in 
France  the  Cemetery  of  Petit  Picpus  is  revered  as  consecrated  earth 
and  only  the  descendants  of  those  who  sacrificed  their  lives  during  the 
revolutionary  period  are  now  interred  within  its  walls,  it  is  compara¬ 
tively  little  known  in  America  that  here  is  where  the  great  hero  of  our 
own  revolution  lies  buried.  This  lamentable  fact  is  too  clearly  shown 
by  the  register  kept  by  the  concierge  of  the  adjoining  convent,  wherein 
are  inscribed  the  names  of  but  a  small  number  of  casual  visitors.  But 
every  year,  when  Decoration  day  comes  around,  it  is  the  custom  with 
Americans  in  Paris  to  repair  to  this  secluded  churchyard  and  deposit 
floral  tributes  on  the  granite  slab  under  which  rests  the  “hero  of  two 
world.”.  The  latest  of  these  memorals  ceremonies,  observed  May  30, 
1900,  constituted  a  most  fitting  prelude  to  the  impressive  dedication 
of  the  Lafayette  monument  made  July  4,  1900.  On  that  Decoration 
day  occasion,  by  reason  of  the  presence  in  Paris  of  so  many  visiting 
Americans,  a  larger  concourse  of  people  assembled  about  the  tomb  in 
Petit  Picpus  than  had  ever  been  known  since  the  day  of  the  great 
patriot’s  burial.  But  the  300  devotees  who  took  part  in  that  beautiful 
ceremony  were  not  all  Americans.  Besides  some  of  the  most  distin¬ 
guished  men  and  women  of  our  land,  there  were  several  eminent 
Frenchmen  present,  one  of  whom  was  the  Marquis  de  Lafayette,  a 
direct  descendant  of  the  dead  General. 

A  more  comprehensive  estimate  of  Lafayette,  as  entertained  by  the 
average  American,  was  perhaps  never  before  voiced  than  when  Gen. 
Horace  Porter,  United  State  Ambassador,  addressed  the  assembled 
throng.  Said  he: 

“On  this,  our  Memorial  day,  consecrated  to  the  memory  of  the 
heroic  dead,  we  make  our  customary  annual  pilgrimage  to  this  quiet 


J 


HALE  OF  CHEVALIERS. 

(Hungarian  Pavilion.) 


SUPPLEMENTAL  PALACES  AND  SIDE-SHOWS. 


historic  cemetery  to  lay  our  tribute  of  spring  flowers  upon  the  tomb  of 
a  hero  who  battled  valiantly  for  American  independence,  and  whose 
name  will  remain  green  in  the  hearts  of  American  citizens  as  long  as 
human  gratitude  endures  or  gallant  deeds  are  honored.  Lafayette  was 
the  personification  of  magnanimity,  the  embodiment  of  true  chivalry. 
There  is  much  in  his  life  that  enrapts  the  fancy,  appeals  to  our  finer  sen¬ 
timents,  and  fascinates  all  who  dwell  on  the  story  of  his  remarkable 
career. 

“We  find  him  a  beardless  boy,  scarcely  out  of  his  teens,  with  name, 
family,  title,  wealth,  a  charming-  home,  every  hope  of  preferment  in 
life,  a  young  and  affectionate  girl  wife.  In  the  midst  of  this  happiness 
he  hears  tidings  which  come  across  the  sea  of  a  brave,  oppressed  people, 
struggling  valiantly  for  their  liberty  and  right  to  establish  a  govern¬ 
ment  of  their  own.  His  generous  young  heart  was  touched,  his  sense 
of  chivalry  was  aroused.  He  hastened  to  quit  the  luxuries  of  the  old 
world  and  cast  his  fortune  with  the  new.  He  fitted  out  a  ship  at  his 
own  expense  to  carry  him  across  the  ocean,  and  on  his  arrival  in  Amer¬ 
ica  presented  himself  to  Gen.  Washington  with  the  sole  request  to  be 
allowed  to  serve  in  the  Continental  army  as  a  volunteer,  and  without 
pay.  He  was  made  a  Major  General,  and  equipped  the  troops  of  the 
first  command  out  of  his  own  private  means.  And  when  his  available 
funds  were  exhausted  he  borrowed  more  with  which  to  clothe  and  feed 
his  followers.  Ten  thousand  pairs  of  shoes  were  paid  for  out  of  his 
own  pocket.  Patiently  he  drilled  his  patriotic  soldiers,  and  then,  with 
flashing  sword,  led  the  devoted  band  across  the  bloody  fields  of  New 
Jersey  and  Virginia.  He  generously  shed  his  young  blood  at  the  battle 
of  Brandywine,  and  devoted  the  best  years  of  his  life  to  befriending  a 
great  principle  in  a  land  of  strangers.  Returning  to  his  home,  mean¬ 
while,  he  cooperated  with  the  sage  Franklin  in  procuring  a  loan  from 


566 


THE  PARIS  EXPOSITION. 


France,  and  in  urging  his  country  to  dispatch  an  army  and  a  fleet  to 
aid  the  struggling  colonies  at  the  most  critical  period  of  their  strife. 

“The  story  of  his  deeds  rises  to  the  sublimity  of  an  epic,  the  his¬ 
tory  of  his  career  is  worthy  the  contemplation  of  the  ages.  We  gladly 
repair  to  his  last  resting  place  to  lay  our  garlands  upon  his  tomb  in 
accordance  with  a  resolve  of  our  people  that  no  soldier  who  fought  for 
American  independence  shall  lie  in  a  grave  undecorated,  unhonored  or 
unwept.  The  flowers  will  fade,  his  memory  will  be  fadeless.” 

At  the  close  of  the  ceremony  the  Marquis  de  Lafayette  spoke  in 
grateful  adknowledgment  of  the  beautiful  tribute  performed  in  honor 
of  his  ancestor,  and  feelingly  thanked  the  assembled  Americans  for  the 
spirit  that  prompted  their  constant  devotion  to  his  memory.  The 
solemnity  of  the  scene,  with  its  romantic  associations,  would  at  any  time 
have  seemed  impressive;  but  on  this  special  occasion  it  was  the  more  so, 
immediately  preceding,  as  it  did,  the  long-anticipated  event  wherein  a 
grateful  people  dedicated  to  the  memory  of  the  deep-slumbering  hero, 
a  monument  symbolizing  their  perpetual  honor  and  devotion. 

The  originator  of  the  Lafayette  monument  project  and  its  sub¬ 
sequent  promoter  is  Mr.  Robert  J.  Thompson,  a  scion  of  one  of  the 
oldest  and  most  honorable  families  of  the  State  of  Iowa.  Like  many 
another  American  student,  Mr.  Thompson  early  developed  a  deep  and 
lasting  admiration  for  the  great  French  champion  of  the  revolution, 
and  as  a  school  boy  first  conceived  the  vague  idea  that  with  succeeding 
years  has  developed  into,  so  magnificent  an  achievement.  In  his  prose¬ 
cution  of  the  monument  plan,  he  naturally  encountered  many  obstacles, 
in  defiance  of  which,  however,  he  pursued  his  noble  purpose  with  un¬ 
daunted  persistency.  One  after  another  he  enlisted  great  minds  in  his 
theme,  until  he  eventually  succeeded  in  winning  to  its  support  the 
President  of  the  United  States  and  other  leading  men  of  the  nation. 


SUPPLEMENTAL  PALACES  AND  SIDE-SHOWS.  567 

At  length,  on  the  1st  of  September,  1898,  the  Lafayette  Memorial  Com¬ 
mission  was  formed,  the  officers  and  members  of  which  are  as  follows: 
Honorary  president,  Hon.  Ferdinand  W.  Peck;  vice-president,  Hon. 
Alexander  H.  Revell;  treasurer,  Hon.  Charles  G.  Dawes;  secretary, 
Robert  J.  Thompson.  Associate  Commissioners — Hon.  William  R. 
Day,  William  B.  Allison,  Rev.  Edward  Everett  Hale,  Dr.  W.  T.  Harris, 
Archbishop  Ireland,  John  W.  Mackay,  Hon.  Melville  E.  Stone,  Frank 
Tomson,  Hon.  Charles  A.  Collier.  In  addition  to  these  the  Governors 
of  all  the  states  and  territories  in  the  Union  were  appointed  honorary 
vice-presidents  and  the  Superintendents  of  Public  Instruction  were  or¬ 
ganized  into  an  advisory  board. 

But  even  with  this  influential  representation  the  grand  object  in 
view  would  never  have  been  attained  had  it  not  been  for  the  enthu¬ 
siastic  support  of  4,000,000  loyal  school  children  of  our  land.  Imme¬ 
diately  after  the  organization  of  the  commission  Secretary  Thompson 
set  about  enlisting  the  schools  throughout  the  United  States,  including 
Alaska  and  Hawaii,  in  consummating  the  monument  project.  In  this 
movement  he  was  thoroughly  sustained  by  the  President,  who  in  an 
open  letter  commended  the  commission’s  announcement  of  October 
19,  1898,  the  anniversary  of  the  fall  of  Yorktown,  as  Lafayette  day, 
^  upon  which  occasion  it  was  requested  that  patriotic  exercises  be  held 
and  collections  taken  up  among  the  children.  Following  the  issuance 
of  the  President’s  letter  proclamations  indorsing  the  celebration  of 
Lafayette  day  were  received  from  forty-two  of  the  Governors,  or  State 
Superintendents  of  Education,  of  the  several  states  and  territories.  A 
representative  of  the  commission,  Prof.  W.  F.  Butler,  then  visited  the 
school  boards  of  the  large  cities  and  chief  Catholic  prelates  of  the 
various  parochial  dioceses  of  the  country  in  the  interest  of  the  move¬ 
ment.  At  the  same  time  there  were  sent  out  from  the  headquarters  of 


THE  PARIS  EXPOSITION. 


$6$ 

the  commission  to  every  County  School  Superintendent,  every  Mayor, 
newspaper  and  postmaster  in  the  United  States  upward  of  a  million 
circulars  and  specimen  programmes  for  school  exercises,  with  the  re¬ 
sult  that  on  the  19th  of  October,  six  weeks  after  the  organization  of 
the  commission,  4,000,000  school  children  contributed  their  pennies 
to  the  amount  of  $45,858.30,  thus  giving  a  splendid  beginning  to  the 
fund. 

Immediately  on  receipt  of  these  contributions,  a  receipt  from 
Treasurer  Dawes  was  furnished  each  school,  and  later,  beautiful  and 
appropriate  souvenir  receipts,  replacing  these  earlier  acknowledgments, 
were  issued.  These  unique  certificates  are  now  hanging  in  thousands 
of  our  schools,  a  priceless  souvenir  of  the  greatest  tribute  ever  laid  on 
the  altar  of  fame  by  the  youth  and  hope  of  a  grateful  nation. 

On  the  strength  of  the  substantial  nucleus  thus  established,  on 
March  31,  1899,  Congress  made  an  appropriation  of  $50,000  to  the 
Lafayette  monument  fund,  the  amount  being  issued  in  the  form  of  a 
specially  designed  coin  known  as  the  Lafayette  dollar.  These  coins 
were  struck  December  14,  1899,  the  100th  anniversary  of  the  death  of 
Washington,  and  delivered  into  the  hands  of  the  commission.  At  the 
lapse  of  a  single  month  after  their  receipt  over  22,000  of  the  50,000  were 
sold  at  $2  each,  the  price  agreed  upon  by  the  executive  committee. 

Meanwhile,  the  negotiations  were  being  carried  on  with  the  French 
authorities  relative  to  the  acceptance  of  the  monument,  and  the  site 
to  be  assigned  it  in  the  City  of  Paris.  These  negotiations  were  most 
amicable  throughout  and  terminated  to  the  entire  satisfaction  of  the 
various  authorities  interested.  Not  only  was  the  monument  accepted 
with  pleasure  and  gratitude,  but  the  choicest  spot  in  Paris,  the  court  of 
the  Louvre,  was  set  aside  as  the  site  on  which  it  should  be  reared.  As  a 
commemorative  preliminary  to  the  presentation  of  the  monument,  on 


SUPPLEMENTAL  PALACES  AND  SIDE-SHOWS. 


569 


February  22,  the  President  of  the  United  States  presented  to  the  Presi¬ 
dent  of  France  one  of  the  first  of  the  Lafayette  dollars  struck.  The 
President's  envoy  on  this  auspicious  occasion  was  Secretary  Robert  J. 
Thompson,  the  author  and  leading  spirit  of  the  project.  The  coin, 
which  bears  the  profile  of  the  immortal  patriot  for  whom  it  was  cast, 
is  incased  in  a  handsome  and  costly  casket  and  its  presentation  was  dis¬ 
tinguished  by  the  profoundest  ceremony. 

The  design  adopted  for  the  Lafayette  monument  involves  two 
principal  components,  namely,  the  equestrian  statue  and  the  pedestal 
whereon  it  stands.  The  former  was  executed  under  the  direction  of 
Mr.  Paul  Bartlett,  a  talented  American  sculptor.  It  is  one  of  the  largest 
figures  of  the  kind  in  the  world,  and  without  exception  the  richest. 
The  group  represents  Lafayette  in  full  uniform  mounted  on  a  noble 
war  steed  and  raising  his  sword,  reversed,  to  the  heavens.  An  alloy  of 
gold  and  silver,  instead  of  tin  and  spelter,  was  used  in  the  bronze  cast¬ 
ing  to  refine  and  beautify  it,  and  the  entire  figure  was  cast  by  the  lost 
wax  process — an  elaborate  and  expensive,  though  eminently  artistic, 
method.  The  pedestal  is  of  colored  .marble,  Colleoni  style,  with  rich 
bronze  architectural  ornaments,  elaborate  exedra  and  extensive  artistic 
surroundings.  In  the  adamant  sides  of  this  beautiful  pedestal  is  graver? 
Lafayette's  eloquent  prayer  for  the  United  States  of  America. 

“May  this  immense  temple  of  freedom  ever  stand  a  lesson  to  op¬ 
pressors,  an  example  to  the  oppressed  and  a  sanctuary  for  the  rights  of 
mankind!  And  may  these  happy  United  States  attain  that  complete 
splendor  and  prosperity  which  shall  illustrate  the  blessings  of  our  gov¬ 
ernment,  and  for  ages  to  come  rejoice  the  departed  souls  of  its 
founders." 

The  dedication  of  this  monument,  conceived  and  built  through  the 
efforts  of  the  young  people  of  America,  rendered  the  Fourth  of  July, 


570  THE  PARIS  EXPOSITION. 

1900,  an  exceptionally  memorable  and  brilliant  occasion.  No  other 
country,  however  glorious  its  history,  could  have  performed  so  magnifi¬ 
cent  a  ceremony  on  its  national  day  in  Paris.  The  sublimity  of  the 
event  inspired  the  assembled  nations  with  a  wondering  admiration,  and 
the  tribute  which  will  forever  commemorate  the  life  and  death  of  Lafay¬ 
ette  was  inaugurated  amidst  the  mingled  plaudits  and  tears  of  an  ap¬ 
proving  world. 

The  ceremonies  took  place  in  the  garden  of  the  Tuilleries,  the  site 
of  the  statue  being  on  the  Place  du  Carrousel,  the  background  formed 
of  the  main  building  of  the  Louvre,  while,  at  a  little  distance  in  front, 
stands  the  striking  monument  to  Gambetta.  Two  of  the  most  famous 
Frenchmen  thus  stand  almost  side  by  side  within  this  square. 

The  scene  within  the  amphitheatre  was  most  striking  and  pictur¬ 
esque.  The  rising  tiers  of  seats  were  filled  with  about  2,000  invited 
guests,  a  large  proportion  of  whom  were  ladies,  whose  handsome  cos¬ 
tumes  greatly  contributed  to  the  color  effect.  General  Horace  Porter, 
United  States  Ambassador,  welcomed  the  guests  in  an  eloquent  ora¬ 
tion.  F.  W.  Peck,  United  States  Commissioner  General  of  the  Paris 
Exposition,  and  president  of  the  monument  committee,  presented  the 
monument  to  France  on  behalf  of  the  school  children  of  the  United 
States.  It  was  accepted  by  M.  Loubet,  President  of  the  Republic,  amid 
shouts  of  Vive  Loubet!  Vive  la  France! 

The  monument  was  unveiled  by  two  boys  representing  the  school 
children  of  France  and  America,  Gustave  Hennocque,  great  grandson 
of  the  Marquis  de  Lafayette,  and  Paul  Thompson,  son  of  the  projector 
of  the  monument.  At  a  given  signal,  the  boys,  dressed  in  white  flannel 
suits  and  sailor  hats,  and  wearing  tri-colored  sashes,  pulled  the  strings, 
releasing  the  American  flag  enveloping  the  statue.  As  the  flag  dropped 
and  the  heroic  statue  of  Lafayette  offering  his  sword  to  the  American 


SUPPLEMENTAL  PALACES  AND  SIDE-SHOWS. 


57i 


cause  was  unfolded  to  view,  a  scene  of  great  enthusiasm  occurred.  The 
whole  assembly  arose,  cheered  and  waved  hats,  handkerchiefs  and 
American  flags. 

After  a  few  words  by  Paul  Thompson  and  the  reading  of  a  dedica¬ 
tory  poem  by  Miss  Voss,  representing  the  Daughters  of  the  American 
Revolution,  Archbishop  Ireland  delivered  an  address,  and  Mrs.  Daniel 
Manning  spoke  on  Lafayette  and  the  Daughters  of  the  American 
Revolution. 

An  interesting  part  of  the  ceremonies,  and  one  moving  the 
audience  to  intense  enthusiasm,  was  the  reading  of  the  following  dis¬ 
patch  from  President  McKinley: 

“I  will  be  grateful  if  you  will  say  how  we  honor  in  our  national 
capital  the  statue  of  Lafayette  erected  by  the  French  people  and  convey 
my  hope  that  the  presentation  of  a  similar  memorial  of  that  knightly 
soldier,  whom  both  Republics  are  proud  to  claim,  may  serve  as  a  new 
link  of  friendship  between  the  two  countries  and  a  new  incentive  to 
generous  rivalry  in  striving  for  the  good  of  mankind.” 

Four  million  youthful  voices  uplifted  in  one  grand  memorial  an¬ 
them;  4,000,000  tender  hearts  bowed  low  in  devoted  veneration; 
4,000,000  eager  hands  outstretched  in  loving  tribute,  and  the  patriot 
school  children  of  America  have  perpetuated  for  all  time  the  remem¬ 
brance  of  their  country’s  noble  benefactor,  their  ideal  “knight  of 
liberty” — Lafayette. 

THE  OLYMPIAN  GAMES. 

That  feature  of  the  Exposition  of  1900,  known  as  the  Olympian 
Games,  or  athletic  contests,  took  place  at  the  Bois  de  Boulogne  ^Bou¬ 
logne  Woods)  on  July  14,  15  and  16.  Out  of  twenty-one  events  seven¬ 
teen  were  captured  by  Americans,  three  by  the  Englishmen  and  the 


THE  PARIS  EXPOSITION. 


57* 

discus  throw  by  a  Hungarian.  It  was  almost  impossible  to  describe 
the  surprise  and  admiration  of  the  Frenchmen,  for  the  athletes  of  their 
sister  republic,  and  everywhere  there  was  loud  praise  for  the  plucky 
endurance  and  tried  skill  of  America’s  champions.  Pennsylvania  Uni¬ 
versity  was  well  to  the  fore,  winning  eight  championships,  eight 
seconds  and  three  thirds.  The  sunnier  climate  of  France  seemed  to 
put  ginger  into  the  muscles  of  our  runners,  jumpers  and  hurdlers,  and 
every  man,  with  but  few  exceptions,  was  at  his  best.  The  great  trio, 
Kraenzlein,  Tewksbury  and  Baxter,  proved  a  whole  team  in  themselves, 
going  into  many  events  and  doing  uniformly  well  in  everything. 
Kraenzlein  won  four  championships,  Baxter  two,  and  four  seconds,  and 
Tewksbury  one  championship,  two  seconds  and  a  third.  Orton  was  the 
only  other  man  on  the  team  to  get  first  honors.  Others  to  win  prizes 
were  Colkett,  McCracken  and  Hare. 

The  first  day  of  the  games  was  Saturday,  the  14th,  when  two 
championships  were  decided  and*  the  preliminaries  of  quite  a  number 
of  the  races  were  run  off.  The  110-metres  hurdle  race  went,  of  course, 
to  Kraenzlein,  after  a  hard  race,  McClain,  of  Michigan,  beating  the 
gun  by  about  six  yards,  and  giving  “Kraenz”  the  race  of  his  life.  The 
time  was  given  as  15  2-5  seconds,  but  the  English  and  American 
watches  caught  it  in  15  1-5  (world’s  record),  and  this  was  phenomenal, 
for  the  turf  was  poor,  and  the  race  run  slightly  up  hill.  The  hundred 
metre  dash  was  a  great  disappointment  to  Georgetown,  for  Duffy  had 
a  breakdown  near  the  finish  and  Jarvis,  of  Princeton,  won  from  Tewks¬ 
bury  by  two  yards. 

In  spite  of  all  that  was  said  and  done  by  American  athletes,  games 
were  held  on  Sunday,  and  all  protests  were  of  no  avail.  It  seems  that 
Mr.  Spalding  had  seen  but  two  members  of  the  French  committee 
about  this  matter,  and,  although  they  had  promised  him  to  change  the 


GUARDS  OF  THE  CEYLON  EXHIBITION. 


SUPPLEMENTAL  PALACES  AND  SIDE-SHOWS.  575 

date,  the  whole  committee  altered  this  decision,  and  forced  all  Ameri¬ 
cans  to  go  in  or  lose  the  championships.  A  promise  on  Saturday  also 
was  made  by  the  Frenchmen  that  all  participants  in  field  events  could 
contest  on  Monday,  if  they  did  not  on  Sunday,  but  this  promise  was 
again  reversed,  and  no  men  were  given  chances  to  try  the  field  events, 
which  they  had  been  entered  in  on  Sunday.  All  kinds  of  wires  were 
pulled  by  the  American  colleges  (Georgetown  excepted)  to  prevent 
Sabbath  competition,  but  to  no  avail  France  has  Sunday  as  a  national 
holiday,  and  they  would  not  recognize  American  scruples.  The  French¬ 
men  had  been  courtesy  itself,  and  had  taken  their  defeats  with  the  best 
grace,  but  they  did  not  understand  American  methods  of  running 
games,  and  there  was  a  conflict.  They  were  right  from  their  stand¬ 
point  and  we  were  right  from  ours,  but  the  standpoint  differed. 

For  the  Pennsylvania  team  itself  the  question  was  an  open  one. 
We  had  received  no  instructions  from  home,  we  were  not  so  much 
responsible  to  the  university  as  we  were  to  those  gentlemen  who  by 
their  subscriptions  had  made  the  trip  possible.  It  was  decided,  how¬ 
ever,  that  the  team  should  not  compete  as  a  team,  but  that  the  matter 
should  be  left  to  the  individual.  Such  being  the  case,  only  four  men 
out  of  the  thirteen  competed,  and  many  of  the  others  had  to  give  up 
their  chances.  The  other  teams,  Chicago,  Michigan,  Syracuse  and 
Princeton,  were  under  definite  restrictions  from  their  faculties  and  were 
thus  unfortunately  barred.  Pennsylvania  signed  a  petition  to  have  the 
championship  field  events  opened  to  her  sister  American  colleges  on 
Monday,  and  did  everything  in  her  power  to  change  the  program. 
It  was  a  case  of  the  New  York  Athletic  Club  and  Pennsylvania  indi¬ 
viduals  competing  or  else  of  leaving  all  the  championships  to  the  L  .ng- 
lishmen  and  French. 


576 


THE  PARIS  EXPOSITION. 


As  it  was,  the  Sunday  competition  went  decidedly  Pennsylvania’s 
way.  The  pole  vault,  high  jump,  60  metres  broad  jump,  400-metre 
hurdle  race  and  the  steeple-chase  were  victories  for  the  Red  and  Blue. 
The  great  race  of  the  day  was  the  steeple-chase.  George  Orton,  the 
former  champion,  had  been  running  in  the  rear  most  of  the  distance, 
but  on  the  last  stretch,  by  an  almost  superhuman  effort,  he  sprinted 
and  caught  the  English  champion,  winning  out  by  ten  yards.  It  was  a 
wonderful  exhibition  of  grit  and  endurance,  and  he  was  applauded  to 
the  echo.  Another  race  of  the  day  was  the  contest  in  the  60  metre 
flat,  when  Kraenzlein  won  by  the  merest  six  inches  from  Tewksbury. 

On  Monday  the  Americans  again  triumphed,  and  all  jealousy  was 
forgotten  in  the  grand  “finale”  when  the  Stars  and  Stripes  triumphed 
in  a  tug-or-war  competition.  The  Scandinavians  had  beaten  France 
in  a  rather  unequal  contest,  and  won  the  championship,  when  it  oc¬ 
curred  to  Mike  Murphy  that  with  the  two  Sheldons  of  Yale,  Garrett 
of  Princeton,  Flanagan  of  the  N.  Y.  A.  C.,  and  Hare  and  McCracken 
of  Pennsylvania,  he  had  a  team  of  brawn  and  muscle  that  might  give 
the  Swedes  a  rub.  In  the  first  bout,  by  main  strength  and  steady,  slow 
pulling,  the  Americans  won  with  ease.  However,  the  next  mill  was  not 
so  easy,  and  it  was  nearly  five  minutes  before  the  Scandinavians  had  to 
give  way.-  It  was  by  all  odds  the  most  exciting  event  of  the  day,  all 
Americans  lining  up  beside  their  team  and  yelling  encouragements. 
At  the  finish  the  hurrahs  of  “Penn!”  and  “Siss,  boom,  ah!”  of  the 
Tiger  and  the  cheers  of  Yale  were  all  united  in  one  prolonged  yell  for 
America.  The  Frenchmen,  too,  were  all  on  our  side,  and  went  wild 
over  the  result.  The  other  events  of  the  day  were  the  great  jumping 
of  Ewry,  of  the  N.  Y.  A.  C. ;  the  8,000  metre  steeplechase,  and  the  200- 
metre  hurdles.  The  hammer  throw  was  won  by  Flanagan  with  a  throw 


SUPPLEMENTAL  PALACES  AND  SIDE-SHOWS. 


577 


within  four  inches  of  his  own  world’s  record.  Hare  also  gave  a  great 
exhibition,  hurling  the  missile  15 1  feet. 

The  grounds  of  the  Racing  Club  of  France  on  the  Bois  de  Bou¬ 
logne  were  pretty,  but  were  in  several  ways  unfitted  for  the  races.  The 
track,  which  was  but  fair  turf,  ran  often  in  among  the  trees,  and  it  was 
impossible  in  many  races  to  see  the  men  except  at  times.  The  man¬ 
agement  of  the  games  improved  as  they  progressed,  but  the  crowd  was 
permitted  to  wander  across  the  track  and  gather  around  the  field 
events,  which  was  very  annoying  to  those  who  held  grand-stand  tickets. 
The  shot-put  and  discus  throw  were  performed  with  the  advantage  of 
an  elevation,  while  the  broad  jump  had  a  take-off  elevation  of  at  least 
six  inches.  The  starter  was  entirely  unfit  for  his  job,  and  on  Sunday 
the  Frenchmen  kindly  yielded  the  gun  to  Sanford,  the  Columbia  coach, 
as  the  frequent  steals  were  becoming  tiresome.  The  starting  after  that 
was  uniform.  The  trouble  with  the  French  starter  v  is  that  there  was 
no  time  between  the  “attention”  or  last  word  and  th<  bang  of  the  gun, 
so  that  many  men  started  at  the  word  “attention.” 


Congresses  of  the  Exposition. 


N  1893,  at  the  Columbian  Exposition  the  expression 
#  “World's  Congress"  came  into  vogue.  Ever  since  that 
time  leaders  of  scientific,  economic  and  religious  thought 
looked  forward  to  the  Exposition  of  1900,  at  Paris,  in 
anticipation  of  the  assemblages  of  learned  societies  to  be 
held  on  that  occasion,  and  leading  scientific  bodies  took 
as  much  interest  in  the  preparations  for  the  world's  congresses  of  1900 
as  for  the  material  parts  of  the  Exposition. 

When  Tennyson  dreamed  of  the  “Parliament  of  Man  and  the  Fed¬ 
eration  of  the  World,"  the  picture  he  drew  was  but  little  understood  by 
his  contemporaries  and  not  even  discussed  by  his  critics.  But  he 
seemed  to  have  spoken  in  a  prophetic  vein,  for  according  to  the  pro¬ 
gram  of  the  Exposition  of  1900,  world  parliaments  and  congresses  galore 
came  into  being.  There  were  on  view  at  that  grandest  of  all  Exposi¬ 
tions,  collections  illustrative  of  the  products,  industries,  social  organiza¬ 
tions  and  institutions  of  the  nations,  but  the  excellence  and  instructive 
value  of  the  Exposition  would  have  been  impaired  if  had  been  limited 
to  bazaar,  promenade  and  display  features  merely,  and  had  not  been 
made  to  embrace  also  the  great  truths  and  golden  lessons  of  life  spoken 
through  the  lips  of  learned  interpreters  to  the  students  of  the  arts  and 
crafts  of  the  nineteenth  century.  The  organizers  of  the  Exposition  fully 
understood  their  opportunity  and  determined  that  it  should  not  be  lost. 
They  wisely  and  liberally  arranged  for  a  series  of  congresses  and  confer¬ 
ences,  covering  nearly  the  entire  period  of  the  Exposition,  at  which  the 
world's  experts  in  the  vast  fields  of  human  knowledge  and  progress 

579 


28 


580 


THE  PARIS  EXPOSITION. 


should  assemble  to  discuss  the  various  problems  to  which  they  had  de¬ 
voted  their  time  and  study.  As  a  consequence,  influential  committees 
from  all  the  leading  nations  took  steps  to  facilitate  these  conferences. 
The  Paris  International  Assembly  became  headquarters  of  all  societies 
and  organized  bodies  engaged  in  conference  work,  and  it  sought  to  re¬ 
cruit  in  each  country  members  for  the  various  congresses  which  were 
held  during  the  Exposition.  A  welcome  club  was  provided  where  the 
representatives  of  each  nation  at  the  congresses  met  and  became  ac¬ 
quainted.  In  connection  with  these  arrangements  provisions  were  made 


for  the  assistance  of  students  who  wished  to  spend  part  of  the  time  of 
their  visit  at  the  French  University.  Under  the  same  auspices  a  depart¬ 
ment  of  guidance  was  created  which  enabled  visitors  to  see  more  readily 
the  classes  of  exhibits.  Courses  of  lectures  were  also  arranged,  the  sub¬ 
jects  being  grouped  under  the  various  heads  of  Art,  Industry,  Hygiene, 
Medicine,  Political  and  Social  Economy,  etc. 

The  congresses  held  in  connection  with  the  Exposition  were  as  fol¬ 
lows,  each  one  having  its  own  conditions  for  participation,  special  fees 
and  its  own  publications.  Their  number  was  conclusive  evidence  of  the 


scope  of  work  undertaken  at  the  Exposition. 

AGRICULTURE  AND  FORESTRY. 

Horticulture . May  25  to  27 

Forestry . . . June  4  to  7 

Agricultural  stations . .June  18  to  20 

Viticulture . June  20  to  23 

Cattle-feeding . June  21  to  23 

Agriculture . . .  .July  1  to  7 

Agricultural  co-operation . . . July  8 

Apiculture  . . September  10  to  12 

Fruit-culture . . . September  10  to  12 

Aquiculture  and  fishery . September  14  to  19 

ANTHROPOLOGY,  ARCHAEOLOGY,  AND  HISTORY. 

Numismatics . June  14  to  16 

Comparative  history . June  18  to  21 


CONGRESSES  OF  THE  EXPOSITION. 


581 


Ethnography . 

History  of  religions 
Basque  studies  . . . 

Folklore . 

Americanists . 


. . August  25  to  September  1 

. September  3  to  8 

. September  3  to  5 

. September  10  to  12 

. September  17  to  21 

ART. 


Photography . July  23  to  28 

Architecture . July  30  to  August  4 

Teaching  of  art . August  29  to  September  1 

Music . . . August - - 

Municipal  art . August - 

Stage . August - 


COLONIAL  QUESTIONS. 


Colonial  sociology . July  30  to  August  4 

Colonies . August  6  to  11 

Economic  and  commercial  geography . ..August  27  to  31 


ECONOMICS  AND  FINANCE. 


Movable  property . 

Joint-stock  companies . 

Landed  property . 

Insurance  . 

Actuaries . 

Commerce  and  industry . 

Industrial  property . 

Tariff  regulations . 

Gold  and  silver . 

EDUCATION. 


. June  4  to  7 

. June  8  to  11 

. June  11  to  13 

. June  25  to  30 

. June  25  to  30 

. July  23  to  28 

. July  23  to  28 

July  30  to  August  4 
. . . .  September - — 


Modern-language  teaching 

Higher  education . 

Primary  education . 

Secondary  education . 

Philosophy  . 

Educational  press . 

Stenography . 

Bibliography . 

Psychology . 

Teaching  of  drawing  ..... 
Popular  education . 


. •. .  .July  24  to  29 

. July  30  to  August  3 

. . August  2  to  5 

. . August  2  to  5 

. August  2  to  7 

. August  9  to  1 1 

. August  9  to  15 

. August  16  to  18 

. August  22  to  25 

August  29  to  September  1 
. September  10  to  13 


582 


THE  PARIS  EXPOSITION. 


LABOR  AND  CO-OPERATION. 

Cheap  dwellings . . . June  1 8  to  21 

People’s  credit  banks . July  8  to  10 

Profit-sharing  .  r . July  10  to  18 

Workmen’s  co-operative  productive  associations . July  11  to  13 

International  co-operative  alliance . July  18  to  22 

MARINE  AFFAIRS. 

Naval  architecture  and  construction . July  19  to  21 

Navigation . July  30  to  August  4 

Chronometry . . . July - 

Maritime  law . October  1  to  3 

MATHEMATICAL,  PHYSICAL  AND  CPIEMICAL  SCIENCE. 

Applied  chemistry . . . July  23  to  31 

Physics . August  6  to  11 

Mathematics . August  6  to  1 1 

Electricity . August  18  to  25 

Chemistry . September  20  to  29 

MEDICINE  AND  HYGIENE. 

Professional  medicine . .  July  23  to  28 

Medicine . August  2  to  9 

Dermatology . , . August  2  to  9 

Pharmacy . August  8 

Dentistry . August  8  to  14 

Hygiene . August  10  to  17 

Hypnotism . August  12  to  15 

Medical  press . August - 

MINING,  ENGINEERING,  AND  APPLIED  SCIENCE. 

Mines . -June  18  to  23 

Aeronautics  . June 

Automobiles . July  9 

Testing  of  materials . July  9  t°  1^> 

Thread-numbering . July 

Steam-engines,  etc . July  16  to  18 

Applied  mechanics . Jnly  I9  to  2  5 

Railroads . September  10  to  12 


CONGRESSES  OF  THE  EXPOSITION. 


NATURAL  SCIENCE. 

Ornithology . June  26  to  30 

Meteorology . July  23  to  28 

Geology . August  6  to  28. 

Alpinists . August  12  to  14 

Botany . October  1  to  7 

PHILANTHROPY. 

Life-saving . July  17  to  23 

Poor  relief . July  30  to  August  5 

Blind . August  5  to - 

Deaf-mutes . August  6  to  8 

Anti-slavery . August  6  to  9 

Housing . August  6  to  9 

Red  Cross . . 

PEACE. 

September  29  to  October  6. 

TECHNICAL,  SOCIAL,  AND  COMMERCIAL  EDUCATION. 

Agricultural  education . June  14  to  16 

Teaching  of  social  science . July  30  to  August  5 

Technical  and  industrial  education . August  6  to  11 

Social  education . September  6  to  9 

WOMEN. 

Women’s  work  and  institutions . June  18  to  23 

Women’s  rights . September  5  to  8 

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